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Ron Miles: Rainbow Sign
by Mario Calvitti
Per il suo esordio su etichetta Blue Note, il trombettista Ron Miles riunisce nuovamente il quintetto stellare con cui aveva inciso il precedente I Am a Man, Bill Frisell alla chitarra, Brian Blade alla batteria, Jason Moran al piano e Thomas Morgan al contrabbasso. Il gruppo era a sua volta l'evoluzione di un trio con Frisell ...
Andreas Willers 7 of 8: The Goldman Variations
by Alberto Bazzurro
Disco composito, felicemente irregolare, questo del sestetto (in un caso settetto) diretto dal sessantatreenne chitarrista tedesco Andreas Willers, con le stimmate dell'opera largamente meditata, fortemente intenzionale, nella concezione così come nel gesto che ne accompagna la messa in pratica. Partenza al fulmicotone nel breve “Case of Need" e poi momenti più riflessivi, quasi sfuggenti, ma sempre ...
Roberto Miranda's Home Music Ensemble: Live at the Bing Theater; Los Angeles, 1985
by Karl Ackermann
Roberto Miranda has appeared on almost one-hundred albums but has been lightly recorded as a leader, and inexplicably struggled to generate interest among labels. Dark Tree Records has released some great Horace Tapscott performances from the '70s and '80s. The label resurrected a Miranda-led session on Live at the Bing Theater; Los Angeles, 1985. Recorded at ...
Amanda Suwondo: Revisit
by Mike Jurkovic
It's genuinely odd and oddly gratifying that a young native Indonesian whom, after traveling to LA to study with Tamir Hendelman, mentor in New York with Christian Sands, and who now calls the land down under home, can remind one of America's lost, defiant lilt and how badly we need to get it back.
Kolotov Mocktails: Ivy Hall
by Jack Bowers
Setting aside the issue of genres (jazz, folk, Americana, funk, R&B, country, whatever), the question becomes: on their debut album, Ivy Hall, does the Tennessee-based and curiously named quartet, Kolotov Mocktails, deliver the goods? And the answer has to be yes, they do. This leads to a second question: is what they are doing jazz? And ...
The Flatland Quartet: Songs From The Urban Forest
by Hrayr Attarian
The members of The Flatland Quartet are not only accomplished improvisers, they are socially aware artists. Their activism permeates Songs From The Urban Forest. This is not only because the proceeds from its sale will be donated to the Sacramento Food Bank. All six interrelated pieces are simultaneously abstract and earthy, marked by a sublime balance ...
Sebastien Ammann's Color Wheel: Resilience
by Alberto Bazzurro
Lo svizzero Sebastien Ammann, di professione pianista e compositore, guida in questo elegante, solido album un quintetto dalle geometrie ben definite e dai percorsi espressivo-espositivi conseguenti. Magari non vi si respirerà tutta l'originalità di questa terra, ma il lavoro d'insieme (soprattutto) è ottimamente congegnato e condotto, e sul piano solistico tutto procede analogamente, col trombone di ...
Idit Shner: Live at the Jazz Station
by Jack Bowers
Alto saxophonist Idit Shner is a professor of saxophone and jazz studies at the University of Oregon. On Live at the Jazz Station, she offers her students (and others) a master class in how to translate academic theory into performance art—and she does it live, without a net, at Portland's Jazz Station. The ...
Adrián Demoč: Hlaholika
by John Eyles
Hlaholika (the word is the name of a now unused Slav font) is Adrián Demoč's third album, following the brief Zikkurat / Variations For Piano (and/OAR, 2010) and the very promising Žiadba (Another Timbre, 2019). Another Timbre must have been impressed by Demoč, as he was one of four composers that the label chose in March ...
George Haslam / João Madeira / Pedro Castello Lopes / Mário Rua: Ajuda
by Mark Corroto
Why would a listener consider Ajuda, a free jazz recording by the quartet of British saxophonist George Haslam and this Portuguese trio, to be a meditative production? Is it quiet? Not really. Is it a solo effort? Not at all. Is it focused inward? No, and yet, yes it is if we consider the synergistic effects ...
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