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Pete Min's Colorfield Records And Sculpted Chaos
by Leo Sidran
Pete Min is a recording engineer, producer and label owner based in Eagle Rock, Los Angeles. His label Colorfield Records features artful collaborative explorations with musicians in unlikely configurations. Pete's studio Lucy's Meat Market has become one of the most in demand spots for recording among a subset of musical artists with LA ties ...
Matthew Halsall: An Ever Changing View
by Geno Thackara
Whatever view Matthew Halsall is sharing here, it is drawn from life and correspondingly picturesque--not just always changing, but always colorful and fascinating. This View comes partly from the sea-and-sky vistas he enjoyed while creating it, splitting time between England and Wales. Partly, it also comes from a couple of years collecting a trove of percussive ...
A Tasting Menu
by John Chacona
It says a lot for the current state of the music that some of the most interesting music hitting the market is being made by lesser-known artists who might never get a look from major labels. Here are four that have their own particularand very differentcharms. All are worth a spin for the sheer joy of ...
Chad Fowler: Alien Skin
by Mike Jurkovic
Just from the paperwork alone, it was duly expected that Alien Skin would be unruly, raw, and cathartic. That is just the nature of the beast. That is just the way the big man planned it. But even with all that said, no one (including the players) saw Alien Skin coming down the runway.
Tyler Mitchell: Dancing Shadows
by Mike Jurkovic
There's a buzz to Dancing Shadows that is akin to the first time one stumbled upon a late 1950s to late 1960s Blue Note, Riverside, Verve, Impulse! or Prestige recording and time just stopped and the music took you places you were eager to go whether you knew where you were going or not. You stared ...
Steph Richards: Zephyr
by Mike Jurkovic
Zephyr comes at you from all sides. Some you hear coming, others you don't. And some you just hear, stop and marvel at how we choose to communicate both to ourselves and to others. You listen in and then move on to the next unknown emergency, to the next crash course, the next languid sea. It ...
Leni Stern: Dance
by Geno Thackara
If one key to a great dance is having the right partner, it must be a doubly (maybe even exponentially) better key to have several. Leni Stern began something of a sequence by forming a new trio for the straightforward 3 (LSR, 2018) and expanding to a quartet with 4 (LSR, 2020). The same group has further ...
Alternative Guitar: Elif Yalvaç, Rachika Nayar, SkyCreature, Kristinn Kristinsson and Tristan Welch
by Mark Sullivan
There is something about the electric guitar that inspires players to utilize electronics to create a more complex sound than previously possible with a solo guitar. Electronic processing offers ways to dramatically alter the guitar's dynamic envelope and timbre, sometimes resulting in a guitar that does not sound like a guitar at all. Add on live ...
Steph Richards: Supersense
by Mike Jurkovic
With all the threatening weirdness and desperate surrealism that has become life in the USA, it makes absolute sense that Supersense, daring trumpeter/composer Steph Richards' third full length album, starts out like an encroaching invasion of ants, or microbes, or a disruptive, divisive, myopic political movement. As with such forward seeking rebels as Henry ...
Rachel Musson: I Went This Way
by Mike Jurkovic
Let's agree that, by a consensus of one, Debbie Sanders recital of saxophonist Rachel Musson's thought-through and through-read play-by- metaphoric-play/lecture on improvisation gets annoying as all hell so quickly that one may find oneself searching madly for a bonus instrumental version. But the music on saxophonist Musson's I Went This Way is an ambitious, teasingly ambiguous ...