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Tom Guarna: Rush
by Luigi Sforza
Il chitarrista, compositore e band leader newyorkese Tom Guarna è un musicista che pur muovendosi in un ambito mainstream garantisce alla sua musica tratti di assoluta riconoscibilità. Il timbro del suo strumento elettrico è tarato su frequenze jazz-rock e post-fusion, anche se l'elemento dominante risulta essere una sintassi espressiva di stampo post boppistico. Un brano ...
Steve Coleman and the Council of Balance: Synovial Joints
by Karl Ackermann
Composer and saxophonist Steve Coleman grew up in Chicago's AACM neighborhood before moving on to New York's big band scene in the 1970s. Diverse influences combined with his assorted academic interests in philosophy, world religion and nature, have made him a source for some of the most unique music of the past twenty years. While not ...
Josh Deutsch/Nico Soffiato: Reverse Angle
by Dan Bilawsky
Trumpeter Josh Deutsch and guitarist Nico Soffiato have been working together since 2006, deepening their rapport and forming strong musical bonds in the ensuing years. Five years after they first connected, these men delivered Time Gels (Self Produced, 2011)--a duo debut which found them codifying their language. Now, Deutsch and Soffiato return with their sophomore release, ...
Szandra Szoke Quintet: Memory Palace
by Bruce Lindsay
Memory Palace is the hugely enjoyable debut recording from the Szandra Szoke Quintet, a Hungarian group led by a young vocalist and writer with a talent for both composition and performance. Szoke and pianist Gabor Cseke co-wrote the music to all but one of the songs on Memory Palace with the singer contributing the ...
Dave Burrell / Steve Swell: Turning Point
by John Sharpe
Although firmly associated with the avant-garde, pianist Dave Burrell often harkens back to pre-bop styles in his execution. On Turning Point he explicitly acknowledges such sources in his writing too. Perhaps that's appropriate in a sequence inspired by the American Civil War -what Burrell terms a war to end slavery. While composer in residence at Philadelphia's ...
Jeremy Udden - Nicolas Moreaux: Belleville Project
by Glenn Astarita
While housesitting in France, nascent American jazz saxophonist Jeremy Udden unsuspectingly connected with French bassist Nicolas Moreaux via social media, seeking musicians interested in playing a session. And while Udden has previously blended rock, folk and other genres into his repertoire, the twosome shared a joint interest in amalgamating the jazz vernacular with other idioms. Indeed, ...
Fresh Cut Orchestra: From The Vine
by Chris M. Slawecki
In late 2012, the Painted Bride Art Center of Philadelphia commissioned local musicians Jason Fraticelli (bass), Anwar Marshall (drums) and Josh Lawrence (trumpet) to collaboratively compose new music for a ten-piece ensemble. “The Painted Bride contacted us about putting together this music, and we all agreed pretty much from the get-go about who we wanted to ...
Roberta Donnay & The Prohibition Mob Band: Bathtub Gin
by Dan Bilawsky
Roberta Donnay is a Jazz Age preservationist, guardian of Depression-era sounds, and extender of traditions, but her music isn't covered with cobwebs or dated in any way. On Bathtub Gin, this singer-composer puts a new coat of paint on the songs of the '20s and '30s, contributes originals sympathetic to the sounds of those times, and ...
Manden Express: Manden Express
by Ian Patterson
The name Manden Express derives from the ancient Manden Empire--better known today as Mali--and its music is an intoxicating fusion of traditional and contemporary West African sounds, Afrobeat and grooving jazz-rock. This EP, its debut release, successfully captures the essence of the Dublin-based septet's thrilling live shows -dance-fests that have made Manden Express a crowd favorite ...
The Greg Foat Group: The Greg Foat Group Live at The Playboy Club, London
by Roger Farbey
Compare and contrast the cascade of notes from Greg Foat's electric piano with albums featuring keyboardists such as Dave MacRae or Keith Tippett. This set's opener, Erni Clark's obscure minor classic “By The Grace Of God, I Am" recalls a feeling, intentionally similar, to the heady days of the late 1960s and early 1970s which Foat ...
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