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Horacio "El Negro" Hernandez & Robby Ameen: Robby & Negro At The Third World War (La Timba No es Como Ayer)
by Jerry D'Souza
Horacio “El Negro" Hernandez and Robby Ameen pack a whole lot into this collaboration. The prime beat comes from Latin music, but there is hip-hop, classical, and jazz as well. How does it all fit in? Just perfectly, thank you! The different strands go to make a compact body which the players get into ...
Maria Schneider Orchestra: Days of Wine and Roses: Live at the Jazz Standard
by John Kelman
When a jazz album is as successful as composer/arranger/conductor Maria Schneider's Concert in the Garden (ArtistShare, 2004), there's a different expectation for the followup. Winning a Grammy and being on many top ten lists can ring the death knell for a pop album, since fans expect the followup to be an even greater event. But with ...
Matt Renzi: The Cave
by Jim Santella
Matt Renzi's warm tenor saxophone voice gives his newest album a smoky texture that allows one to settle back and dream of distant lands and faraway places. His inspiration came from living in Japan, Italy, India, and New York over a four-year span. They're visions that last a lifetime, and Renzi has figured out how to ...
December 2005
by AAJ Staff
Muhal Richard Abrams closed the AACM's 40th anniversary season with solo piano and large ensemble sets at the Community Church of New York (Nov. 11th). His solo piece, “Life One Prelude , was approximately 45 minutes of high abstraction. Sparse atonal clusters grew into enveloping waves of sound as Abrams roamed the keyboard, often with crossed ...
Satoko Fujii Four: Live in Japan 2004
by Jim Santella
When pianist Satoko Fujii, along with her New York trio and her husband, performed this concert in Saitama, Japan on July 28, 2004, their cohesiveness brought a satisfying sensation before the audience. They built each piece with deliberation and stretched out with a free spirit. “Illusion Suite" was recorded by Fujii's trio and released ...
Dominic Frasca: Deviations
by John Kelman
When Adrian Belew, King Crimson's guitarist/vocalist, coined the phrase The Guitar as Orchestra for his 1995 solo album, he was referring to broadening the instrument's sonic landscape through an array of electronic processing. But to other guitarists even the most unaffected acoustic guitar has richer possibilities. Ralph Towner, for example, visualizes completely self-contained compositions on guitar--subdividing ...
Gato Libre: Strange Village
by Jim Santella
Capturing the essence of folk music, Natsuki Tamura creates an acoustic session on Strange Village that lets him tell the stories vividly and completely. Through open trumpet, guitar, bass, and accordion, he communicates tales that stir the imagination and let the listener interpret accordingly. Each tale comes with rounded textures that belie humble surroundings where people ...
Carli Mu: Maverick
by Jerry D'Souza
A thunderous chord, flattened notes, and a rollicking melody turn out to be the calling cards for Carli Muñoz. He gets off to a fine start with “Maverick, underlining his prowess as a pianist with some delightful runs and heady harmonics. But saxophonist David Sanchez cuts to the chase, dissecting the melody and spiriting it in ...
Gato Libre: Strange Village
by Dan McClenaghan
On a blindfold test, with Gato Libre's Strange Village drifting from the speakers, not in a thousand guesses would I have identified the players. The sound is introspective and tranquil, with European folk music shadings--accordion, bass, and acoustic guitar floating behind a relaxed, round-toned trumpet. It's about as far from trumpeter Natsuki Tamura's sizzling electro-stew on ...
Matt Renzi: The Cave
by John Kelman
While not an uncommon format, the saxophone trio is often a more challenging context than piano or guitar-led groups. Without the benefit of a chordal instrument, a saxophone/bass/drums trio can feel like a quartet minus one, as opposed to a complete entity unto itself. Not so with this group led by saxophonist/clarinetist Matt Renzi, a San ...
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