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Fieldwork: Simulated Progress
by Budd Kopman
Has anyone out there ever been totally flattened by a record from the first notes? It happens that Pi Recordings was present at a Rudresh Mahanthappa show last week, and I was able to pick up a copy of Fieldworks' Simulated Progress, which I listened to on the way home. “Flattened" is definitely ...
Brian Patneaude Quartet: Variations & Distance
by Budd Kopman
Brian Patneaude Quartet Variations (2003) Distance (2005) WEPA Records It is easy to see why tenor saxophonist Brian Patneaude and his quartet are so popular and busy. The group is extremely tight and its music is like nothing else. Sounding at various turns exuberant, soaring, ...
Emil de Waal: Emil de Waal +
by Budd Kopman
Emil de Waal + is another release from the “what is jazz?/is it jazz? category that has come my way recently, along with Mandarin Movie, Patina, and Dada Ear Ink. The common characteristics connecting them are the appearance of nonmusical sounds (electronica, including processed voice) and use of standard musical instruments in nonstandard ways. This release ...
Russ Johnson: Save Big
by Budd Kopman
Russ Johnson Save Big Omnitone 2005 The title of Russ Johnson's Save Big is supposed to evoke the essence of the American phrase “Save Big! in a way that is direct and to the point. What it means here in this truly wonderful and important album is this is American ...
Lily Maase: Aftermath
by Budd Kopman
If the releases from the Between the Lines label fall at the classical/composed end of the jazz continuum, then Aftermath belongs in the fusion/experimental corner of the jazz universe. Its rhythms are closer to rock than jazz; the keyboards are electric, as is the bass; and the general vibe goes beyond solo improvising in front of ...
Oliver Gannon: That's What
by Budd Kopman
Hearing jazz live is arguably the best way to experience it. Barring that, a live recording, done well, can be a reasonable substitute. A live show that has that magic, that “it," is a rare thing, and a good recording of one of those is even rarer. That's What is most definitely in that category, and ...
Vertigo Quintet: Vertigo Quintet
by Budd Kopman
One of the joys of reviewing is to receive a disc by a totally unknown group and have it just sweep you away. The music of the Vertigo Quintet is at once engrossing and unpredictable, yet its architectural features have such solidity and grandeur as to wash away any uncertainty. In mentioning the ...
Jay Vilnai's Vampire Suit: Gaze At Your Omphalos
by Budd Kopman
No, I don't know where the name “Vampire Suit comes from, except perhaps that “vampire brings to mind Transylvania (and Bela Lugosi), but also Eastern Europe and the folk music of its people. In fact, there are musical connections among the entire swath of lands and peoples from the Black Sea to the tip of Arabia. ...
Matt Turner: Patina
by Budd Kopman
Patina is the first of a pair (to date) of recordings by cellist Matt Turner that stretch the boundaries of jazz, or perhaps better, blur the lines between music, sound, and noise, making use of technology in this case. Whereas Dada Ear Ink made it clear that all sounds heard came from the ...
Matt Turner: Dada Ear Ink
by Budd Kopman
Sometimes a cigar is just a cigar, but in the case of Dada Ear Ink, a piano is not merely a piano. The liner proclaims loudly, NO effects, reverb, or editing used on this recording, and from the start it is clear that at least part of the conceit is for the listener to try to ...
