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The Vandermark 5: The Color of Memory
by John Kelman
Despite many attempts to compartmentalize it, jazz--like most things--isn't any one thing. Instead, it's a broader continuum of artists exploring different areas. Only a relative few actually manage to not only travel along the greater length of that continuum, but actually push its boundaries. Artists who do this are often relegated to relative obscurity--often only appreciated ...
Gush: Norrk
by Jerry D'Souza
Sound is a kaleidoscope of shapes. Here, it is formed by a trio that includes Mats Gustafsson, a multi-instrumentalist who has wet his lips in the company of Peter Brötzmann, Ken Vandermark, and John Corbett. Is it any surprise, then, that the music honks and hollers, spewing a volcanic steam of notes? But even as that ...
Fred Lonberg-Holm Trio: Other Valentines
by AAJ Staff
Cellists are few and far between in the jazz world, which is just one reason Fred Lonberg-Holm is special. His approach to the instrument is decidedly non-classical, reaping as it does all sorts of alternative tonal colors that would be deemed “incorrect," which makes it ideal for the sort of in-and-out improvisation that he favors. Lonberg-Holm ...
The Contemporary Jazz Quintet: Actions 1966-67
by Jerry D'Souza
One of the notable aspects of Atavistic's Unheard Music Series is the wealth of material it keeps unearthing from the vaults. Time does not seem to efface this music; instead, it stamps the indelibility of the compositions. So it is with the material here, which was recorded almost forty years ago. The core of ...
ROVA::Orkestrova: Electric Ascension: An Interpretation of John Coltrane's Ascension
by John Kelman
When John Coltrane put together five saxophonists, two trumpets, two basses, piano, and drums to record Ascension forty years ago, his decision would polarize the jazz world. To fans of the more traditional forms from which Coltrane emerged, the two versions of the composition--and, as free as it was, it was a composition--represented something akin to ...
Fred Lonberg-Holm Trio: Other Valentines
by John Kelman
The cello may not be the most common instrument in jazz, but over the years it has had a number of significant proponents, including the late Fred Katz and more recently Erik Friedlander, Vincent Courtois, and Hank Roberts. Add to that list Fred Lonberg-Holm, who, while based in New York for a number of years since ...
Nels Cline/Andrea Parkins/Tom Rainey: Out Trios, Volume 3: Ash & Tabula
by Michael Davis
The idea behind Atavistic's Out Trios series appears to be a sound one. Put three compatible improvisers in a room, turn on the machines, and let 'em rip. Now although these particular artists don't play together frequently, they share skills on the highest level. They listen and respond to each other so quickly ...
Per Henrik Wallin/Johnny Dyani/Erik Dahlback: Burning in Stockholm
by Robert R. Calder
These three men are well-known in free improvisation contexts. The two Swedes, pianist Per Henrik Wallin and drummer Erik Dahlback, form two thirds of a trio whose bassist surely couldn't have minded the amazing and now departed South African bassist filling his role on this 1981 date. The music might be called free improvisation, but there's ...
Jim Belushi: Has Never Eaten of the Whimpering Kiss My Only Dog
by Paul Olson
"Cigars, cigars, I enjoy them, howls actor-turned-free jazz vocalist Jim Belushi atonally on the song “C/Garz/Garz/Attenuation3, at eighteen minutes the shortest of the tracks on his new four-CD album Has Never Eaten of the Whimpering Kiss My Only Dog's Collar Return. Belushi's vocal improvisations are supported by the drums and percussion of Han Bennink and, surprisingly, ...
Br: Medicina
by Rex Butters
Medicina further documents Peter Brötzmann's volcanic creativity, here in a trio with veteran collaborators Peeter Uuskyla on drums and Peter Friis Nielsen on electric bass. While recent recordings have shown the Teutonic Tornado varying his attack with a relatively gentle touch, Medicina is pure balls-out Brötzmann, except for a ballad and his lyrical intro to “Hard ...
