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Sam Dillon: My Ideal
by Jack Bowers
Any impartial assessment of My Ideal, Sam Dillon's second album for Cellar Music (following 2018's Out in the Open), should leave no doubt that the New York-born and based tenor saxophonist has definitely hit his stride, punctuating an already strong and persuasive voice on the horn with ample self-confidence and and a bounteous wellspring of innovative ...
Abdou - Gouband - Warelis: Hammer, Roll and Leaf
by John Sharpe
The multinational threesome of French saxophonist Sakina Abdou, French percussionist Toma Gouband and Polish pianist Marta Warelis establishes a striking group identity on Hammer Roll Leaf. From the opening track, “Roll," the trio's compositional instincts and collective discipline distinguish them from the crowded field of free improvisers. Warelis begins with cascading piano figures--robust, resonant and allowed ...
Kaze & Koichi Makigami: Shishiodoshi
by Alberto Bazzurro
Avanguardia piuttosto spinta, attraversata da un marcato gusto per l'antigrazioso di boccioniana memoria, specie in Natsuki Tamura, da sempre braccio armato del quartetto Kaze, da lui codiretto ormai da quasi un quindicennio con la moglie Satoko Fujii, e nell'ospite del succitato quartetto, Koichi Makigami (anche allo scacciapensieri, non accreditato), soprattutto allorché impegnato alla voce (a volte ...
Potsa Lotsa XL: Amoeba's Dance
by Ian Patterson
Like an amoeba, whose shape-shifting properties enable it to adapt to its surroundings, Silke Eberhard's Potsa Lotsa expands and contracts according to its needs. Originating as a four-horn ensemble inspired by the music of multi-instrumentalist/composer Eric Dolphy, Potsa Lotsa blasted off with Potsa Lotsa: The Complete Works Of Eric Dolphy (Jazzwerkstatt, 2010). An auspicious debut, Eberhard's ...
Svetlana: Reel to Remix: Night at the Movies Reimagined
by Konstantin N. Rega
Russian-born, New York-based singer Svetlana finds inspiration by being playful during post-production on Reel to Remix: Night at the Movies Reimagined. Taking six tracks from her 2019 release, Night at the Movies (Starr Records), the singer reconfigures her original takes, spicing things up. Though some might say that this style of remixing can seem gimmicky or ...
Olie Brice Quartet: All It Was
by Mark Corroto
Bassist Olie Brice wears the title of Mr. Inside/Mr. Outside with remarkable ease. Equally adept in free improvisation and structured composition, Brice moves fluidly between extremes. His work with improvisers such as Tobias Delius and Mark Sanders on Somersaults (Two Rivers, 2015), or with Paul Dunmall on The Laughing Stone (Confront, 2023), exemplifie his outside approach. ...
Jeong Lim Yang: Synchronicity
by Neri Pollastri
È piuttosto sorprendente questo nuovo lavoro di Jeong Lim Yang, contrabbassista coreana residente a New York dal 2011 e ormai figura molto presente nella musica metropolitana. Alla testa di un eccellente quartetto, entro il quale spicca la viola di Mat Maneri, la Yang presenta un programma di proprie composizioni (solo “Salad for Lunch" è firmata dal ...
XY Quartet: Lexycon
by Giuseppe Segala
Formazione tra le più solide e originali della scena italiana, XY Quartet approda al suo sesto lavoro discografico, dopo quattordici anni di attività. Un CD nel quale spiccano subito, fin dal brano d'esordio, “Elgotar Bengotar" (di Fedrigo), le geometrie più dirette e compatte, una maggiore intenzione comunicativa rispetto ai CD precedenti. Una focalizzazione sul lavoro di ...
Steve Millhouse: Looking Back to Today
by David A. Orthmann
In an era when athleticism, blatant egotism, and cacophony are all too common elements of jazz performance, it is refreshing to hear a record populated by players who exhibit give-and-take, musicality, and a willingness to listen and share sonic space. Six-string electric bassist Steve Millhouse's Looking Back to Today is a sterling example of a bass, ...
Antonio Adolfo: Carnaval - The Songs Were So Beautiful
by Pierre Giroux
Veteran pianist, composer, and arranger Antonio Adolfo has long been a master at capturing the essence of Brazilian music through a jazz perspective. On Carnaval (The Songs Were So Beautiful), Adolfo draws on a wide range of traditional Brazilian carnival styles-- sambas, marchinas, marchas-rancho, and frevos--to create a vibrant and richly textured album that bursts with ...
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