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Luís Vicente / John Dikeman / William Parker / Hamid Drake: Goes Without Saying, But It's Got To Be Said
by Mark Corroto
It has been more than half a century since the oracles Albert Ayler and John Coltrane proclaimed their message of freedom to the people of earth. Please excuse the grandiosity of the above statement, but after those two giants passed, a shift in consciousness began to take hold. In the biography of William Parker Universal Tonality: ...
Joe Chambers: Samba De Maracatu
by Chris May
Drummer Joe Chambers was unusual among the drummers who emerged on the Blue Note label in the mid 1960s in that not only did he generate a powerful beat, he wrote strong tunes, too. He played on, and often composed pieces for, albums by such Blue Note luminaries as saxophonists Wayne Shorter and Joe Henderson, vibraphonist ...
John Lang: Now Ear This
by Jack Bowers
For what it is, bassist John Lang's fourth album, Now Ear This, is quite well done. For jazz fans, the dilemma lies there, precisely in what it is--a series of eleven rock/fusion themes, nine written by Lang, which would be right at home on a smooth jazz/easy listening radio station, for example, but whose jazz content ...
Dana Jessen: Winter Chapel
by Karl Ackermann
Dana Jessen is the founder of Splinter Reeds, a reed quintet, and she has performed with Anthony Braxton's Tri-Centric Orchestra. In 2017, the bassoonist/composer gave us the enterprising solo project Carve (Innova Recordings). Her mastery of the difficult double-reed instrument played out in experimental interpretations of works by modern composers. Winter Chapel is Jessen's equally adventurous ...
Peter DiCarlo: Onward
by Friedrich Kunzmann
On his debut record, New York-based alto saxophonist Peter DiCarlo establishes himself as a serious straight-ahead composer who skillfully combines an elegant alto tone with intricate reed and horn arrangements that are propelled forward by a swinging rhythm section. Dominated by a majority of self-penned hard and post-bop scores, Onward—in accordance with its title—pushes last century's ...
Stefano Bagnoli We Kids Trio: Dalì
by Neri Pollastri
Alla testa del suo interessantissimo giovane trio We Kids, il batterista Stefano Bagnoli dedica un album a Salvator Dalì, mettendo in scena una musica che allude ad alcuni tratti del surrealismo pittorico del maestro spagnolo. Per farlo la formazione mescola acustica ed elettronica, così da creare situazioni ora liquide, ora sorprendenti e oniriche, in pieno spirito ...
Pedro Melo Alves: In Igma
by Karl Ackermann
Jazz has had a presence in Portugal since the mid-1920s but had found itself in decline from the 1970s. The revolutionary jazz scene in Portugal, circa the 2010s, has produced a profusion of rising stars. Violist Ernesto Rodrigues, trumpeter Susana Santos Silva, Orquestra Jazz De Matosinhos, and the Lisbon Underground Music Ensemble are among those who ...
Paul Colombo Group: Rio Crystal
by Dan McClenaghan
Paul Colombo's debut, Rio Crystal, comes about because his fellow guitarist, Pat Martino, released an album called Pat Martino/Live! (Muse Records, 1972). When Colombo heard Martino's sound, the then fifteen year old aspiring musician's path to jazz artistry came into focus. The keyboardist on Martino's 1972 LP was Ron Thomas, who played Fender Rhodes ...
Joost Lijbaart: Free
by Mark Sullivan
When a drummer/percussionist records a solo album—especially one with the title Free—a potential listener's first expectation would likely involve long, abstract drum solos. Nothing could be further from the truth. Dutch musician Joost Lijbaart took the opportunity offered by Covid-19 downtime to craft a suite of short pieces characterized by a rich variety of timbres (including ...
Simin Tander: Unfading
by Ian Patterson
Simin Tander's evolution has been fascinating to behold since her impressive debut Wagma (Neuklang Records, 2011), which featured pianist Jeroen van Vliet, bassist Cord Heineking and Etienne Nillesen on drums. The German/Afghan singer's whispered gravitas and keening lyricism on jazz-filtered chanson, Latin American balladry and her poetic originals was captivating enough, but her non-syllabic vocal improvisations ...
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