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Cuong Vu: Vu-tet
by Budd Kopman
One way to gauge the strength of a jazz player, especially one who also composes, is to be able identify his or her vision regardless of the changes that occur in the output over time. Does he or she have an attitude, a voice, or a musical message that draws one in, possibly challenging assumptions along ...
Torben Waldorff: Afterburn
by Dan McClenaghan
Guitarist Torben Waldorff really knows how to put a band together. The first impression on hearing his previous effort, Brilliance (ArtistShare, 2007), was that his group had a great collective sound. There was a lot of fine soloing, to be sure--from saxophonist Donny McCaslin and Waldorff--but it was the group atmosphere, simmering and always a bit ...
Torben Waldorff: Afterburn
by Mark F. Turner
Jazz guitarists are oft-times forgotten in this post-Metheny/post-Scofield era. But there are many rising stars such as Lage Lund , Miles Okazaki and Mike Moreno who are poised to carry the flame even farther. Torben Waldorff is another torch-bearer whose Afterburn pinpoints his growing abilities. This is his second ArtistShare release, following 2006's ...
Danilo Perez Big Band: Panama Suite
by George Kanzler
Recorded in Boston with students and faculty of both the Berklee College of Music and the New England Conservatory in the band, this suite by Danilo Perez commemorates five years of the Panama Jazz Festival, where it was also first sold this January. The CD is short, presenting only the quarter-hour suite, described as “a three-movement ...
Cuong Vu: Vu-tet
by Jeff Dayton-Johnson
It's a funny sensation of displacement, the “Vu effect." One moment, you're embraced by a warm and almost New Age-y sense of wholeness. This is the case of leader Cuong Vu's airy, ethereal trumpet playing on “Intro" or “Now I Know." In the same vein, bassist Stomu Takeishi borrows liberally from Jaco Pastorious' trick bag (e.g. ...
Cuong Vu: Vu-Tet
by Jerry D'Souza
Cuong Vu has long established his reputation as an adventurous musician who takes his compositions and his trumpet playing into constantly evolving worlds. His is a constant forging of the new and different, traits that he wraps in thought-provoking schematic concepts that include jazz, rock and whatever else that grabs his fancy, as long as it ...
Tim Armacost: Rhythm and Transformation
by Donald Elfman
Saxophonist/composer Tim Armacost spent a year in Delhi starting in 1993 studying Hindustani rhythms. In 2002, he received a grant from Chamber Music America to write a suite that places these rhythms in a jazz context. The result is the title suite of this remarkable album. Two of the players on the disc--pianist Bruce Barth and ...
Jon Gordon: Within Worlds
by Ken Dryden
Jon Gordon is easily one of the top alto saxophonists of his generation. He is well-versed in bop, though his eleventh CD as a leader (and second for ArtistShare) covers a lot of new ground, compiling music from several different sessions and focusing exclusively on his stimulating originals. His quintet session with pianist ...
Cuong Vu: Vu-Tet
by Dan McClenaghan
One could wonder why in the world these people are wiring up their trumpets, instruments that, acoustically, make such beautiful sounds. Ingrid Jensen plugs in her horn, notably (and beautifully) on The “Pretty Road" from Maria Schneider's Sky Blue (ArtistShare, 2007) and Natsuki Tamura on Hada Hada (Libra Records, 2003) sucks up enough electrons to keep ...
Cuong Vu: Vu-Tet
by Troy Collins
Vietnamese-born trumpet phenomenon Cuong Vu has been melding electronic soundscapes and rock-oriented structures with jazz improvisation since his debut, Bound (Omnitone, 2000). Following in the footsteps of the critically acclaimed It's Mostly Residual (ArtistShare, 2005), Vu continues to explore the fertile territory between electronic and acoustic music. Joined by fellow New York Downtown scene ...
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