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Dave Brubeck: The Inspired Moment of Unity
by Bob Kenselaar
[Standing tall with a flowing salt-and-pepper mane, Dave Brubeck had a broad smile and was quick to laugh when I met him in the fall of 1978 at publicist Peter Levinson's New York office for this interview. He was enjoying his tour with the New Brubeck Quartet, the group he formed with his sons. He reminisced ...
Marion Brown: The Freshness after the Rain
by Nic Jones
[Editor's Note: For the inaugural installment of his new column, in which he monkeys around on the margins of jazz and improvised music, Nic Jones takes a look at the often overlooked and undervalued multi-instrumentalist, Marion Brown.]Reed player and percussionist Marion Brown's music is a singular thing. Through his associations in the 1960s--not the ...
Nikki Iles: Meditation and Collaboration
by Bruce Lindsay
Pianist and composer Nikki Iles describes herself as one of the “not-so-young-anymore generation" of British jazz musicians--a fair comment, in chronological terms, from a musician born in the mid-'60s. But more importantly, she's a musician of experience, expertise and talent, viewed with great respect by players across the world. Iles' self-description does seem to be typical ...
Kyoko Kitamura: Armadillo In Sunset Park
by John Sharpe
In a genre-defying debut, vocalist/pianist Kyoko Kitamura releases what she terms a mini album, collecting nine pieces, many written for a dance collaboration. It might be termed a solo effort, except that the electronics and sound effects provided by George Walker Petit play such an integral role. A former journalist with a Gulf War stint on ...
Steve Horowitz: New Monsters
by Bruce Lindsay
Old monsters? They were frightening, gargantuan, mythical beasts: fire-breathing, blood-lusting and not at all willing to put together anything close to a danceable riff. New Monsters, at least as envisioned by bassist Steve Horowitz on this Posi-Tone album, are a much more engaging bunch. There's still some fire-breathing in evidence, but the blood lust is kept ...
George Brooks: Global Conversations
by Anil Prasad
Being a musician isn't a career for saxophonist George Brooks, it's a journey. Navigating an expansive variety of Indian classical music-influenced environments is at the heart of his travels. Brooks is best known for leading Summit, a cross-cultural ensemble that includes bassist Kai Eckhardt, guitarist Fareed Haque, tabla hero Zakir Hussain and drummer Steve Smith. He ...
Anthony Braxton: GTM (Synatx) 2003
by AAJ Italy Staff
Come annota la vocalist Anne Rhodes nel suo sito, la registrazione dal vivo alla Wesleyan University di questo doppio CD risale al marzo 2007, non al 2003 come è indicato nella copertina e nelle note del disco. In occasione di quel concerto Braxton presentò le esecuzioni della Composition 339 e della 340 insieme alla Rhodes, già ...
Anthony Braxton: GTM (Outpost) 2003
by AAJ Italy Staff
Le due composizioni riunite in questo doppio CD sono state registrate dal vivo all'Outpost Performance Space di Albuquerque, nel New Messico. Avamposto. Nome quanto mai appropriato alla musica di Braxton, qui proposta in duo con i sassofoni di Chris Jonas e in trio con l'aggiunta di Molly Sturges alla voce. Musica che inizia in modo bruciante ...
Steve Lehman Trio: Dialect Fluorescent
by Mark Corroto
Decoding the music of saxophonist Steve Lehman has become a diversion for many a jazz listener (and critic). Sometimes composed with the help of programming software, his harmonies are meshed with mercurial rhythms. When played by his octet, his music gives the impression that it requires a scorecard to keep tabs on its perplexing complexities.
Olavi Trio & Friends: Triologia
by Raul d'Gama Rose
In his fine dissertation, “The Descriptive Grammar of the Ground--Almost Complete Poems" Brazilian poet Manoel de Barros wrote of the poetry that exists in everything, if one chooses to see it. The Beat poets, especially Allen Ginsberg, echoed this belief in emotive poetry. Similarly, Olavi and Friends--albeit in ways a lot more extreme than the Paul ...
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