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Ingrid Laubrock: Contemporary Chaos Practices
by Don Phipps
From the first startling attack of Contemporary Chaos Practices, Ingrid Laubrock lets the listener know she wants your attention. And the music is certainly attention-grabbing. Or would startling, fascinating, and incredible be better words? For nothing quite sets the table for what the listener will experience on this album. It is as if heaven and earth ...
Eriksson Kaner: Changed Beings
by Chris May
This download-only single is the calling card of London-based pianist / composer Eriksson Kaner--and it is a most welcome one. The track is Kaner's first step towards building a profile on the city's jazz scene after five years' study at the Royal Northern College of Music in Manchester. Kaner's older brother, trumpeter Axel Kaner-Lidstrom, has already ...
Jonas Cambien Trio: We Must Mustn't We
by John Sharpe
Why change a winning formula? Norwegian-based Belgian pianist Jonas Cambien maintains his run of success with We Must Mustn't We, the follow-up to the excellent A Zoology of the Future (Clean Feed, 2016) by the same trio, comprising reedman André Roligheten and drummer Andreas Wildhagen. Cambien presents the same distinctive mixture of lurching rhythms, unusual saxophone ...
Dialectical Imagination: Two Infinitudes; The One You "see" and the One That Is You.
by Glenn Astarita
Improvising artists, Eli Wallace (piano) and Rob Pumpelly (drums) recorded this outing for legendary UK-based jazz/avant-garde/free-improv record label, Leo Records. But they've been involved with free-jazz and other jazz activities for San Francisco Bay Area's, Edgetone Records amid various projects and encounters. Indeed, the band moniker, Dialectical Imagination, is significant from an opposing forces ...
Marshall Gilkes / WDR Big Band: Always Forward
by Jack Bowers
This is the second album on which Maryland-born trombonist Marshall Gilkes (pronounced “Jilks") has collaborated with Germany's superlative WDR Big Band, a world-class ensemble with whom he has also served as a member of the trombone section. This time around, Gilkes not only gets to solo but to conduct, compose (eight numbers including the three-part “Denali ...
Pamela Hines Trio: The Music of Richard Whiting
by Dan McClenaghan
The first thirty seconds of a listening experience sets the tone. The disc spins, and music emerges. It's Richard Whiting's “Sleepy Time Gal." And it just might be the loveliest thing pianist Pamela Hines has ever recorded, languid and syrupy, with the trio that includes bassist John Lockwood and drummer Miki Matsuki. Her trio mates are ...
Jim McNeely: Barefoot Dances and Other Visions
by Jerome Wilson
When today's top composer-arrangers of large ensemble jazz are discussed, Jim McNeely's name sometimes gets overlooked. He deserves the recognition. He's been a long- time associate of the Thad Jones-Mel Lewis Jazz Orchestra and its descendant, the Vanguard Jazz Orchestra, and he's also done a lot of work with several European big bands. It could be ...
Colin Edwin & Lorenzo Feliciati: Twinscapes Vol. 2: A Modern Approach To The Dancefloor
by Mark Sullivan
On their first album, Twinscapes (Rare Noise, 2014), British bassist Colin Edwin (Porcupine Tree) and Italian bassist Lorenzo Feliciati (Naked Truth) explored ambient soundscapes, improvisation and progressive jazz/rock with help from guest musicians like Norwegian trumpeter Nils Petter Molvær (a pioneer of electronic jazz) and British saxophonist David Jackson (of Van der Graaf Generator). The second ...
Roland Dahinden: Talking with Charlie - An Imaginary Talk with Charlie Parker
by Glenn Astarita
There have been numerous Charlie Parker tributes over the years, which is to be expected, yet Swiss trombonist, composer Roland Dahinden is no stranger to thinking outside the box via his contemporary classical experience, performing pieces written for him by the likes of Anthony Braxton, John Cage and Daniel Wolf. He's also a jazz improviser and ...
Gene Krupa Quartet: The Gene Krupa Quartet: Live 1966!
by Richard J Salvucci
This was a period, late in Gene Krupa's career, when he really wasn't up to much, or so some critics said. Whether that's fair or not is not for me to say. When Krupa appeared in the summer of 1965 at the Steel Pier in Atlantic City he only rated second billing to The Supremes. He ...
