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Misha Mengelberg: More than Instant Composition
by Clifford Allen
If one takes a swath of the most influential and valuable jazz composers and bandleaders of the last 50 years, one gets one (or both) of two things: a handful of pianists and more questions and inconsistencies than clear lineage. However, just as Steve Lacy found in both Monk's music and free jazz “a door to ...
Bobby Few is Coming Through
by Clifford Allen
The course of an expatriate artist can go in several different directions; there are those for whom the experience of living and working in another country provides a deeper understanding of 'home' and 'place,' and for whom a return is necessary, and there are those who find that these things can be found in self and ...
Ravish Momin: Climbing the Banyan Tree
by Clifford Allen
For his second date as a leader in five years, drummer Ravish Momin has assembled a trio with a truly diverse range of interests and a value expanding on much of the Afro-Asian influence that has entered the jazz canon. Late of Kalaparush and The Light and the groups of reedman Sabir Mateen, Momin studied tabla ...
Bob Feldman: Triplicity
by Clifford Allen
In Art Taylor's seminal book of interviews, Notes and Tones (Da Capo, 1977/1993), the drummer asks Dexter Gordon what he thinks of free jazz. Gordon's answer is, naturally, ironic and non-committal, but he closes with “although the way you play it [Arthur] is very good. Art Taylor did, after all, have a brief career as a ...
Duval & McPhee and Christi & Hassay: Rules of Engagement Vol. 2 & Tribute to Paradise
by Clifford Allen
Reedman Eric Dolphy and bassist Richard Davis created not only some of the most interesting reed-bass duets (if not some of the first) in jazz history, but also laid the groundwork for the conversant duo in realms not just of rhythm (reeds/drums, reeds/piano) but of sound. One just has to think of the ways in which ...
Not Two Records
by Clifford Allen
For the jazz-listening public, even the cognoscenti, when European improvisers and European labels come up in conversation, there are a central few countries that appear as the only beacons in European jazz--England, France, Holland (via ICP) and Germany (and possibly Italy to some small, Gaslini-an degree). Portugal, Sweden, and Denmark get very little mention, and one ...
Bob Feldman: Triplicity
by Clifford Allen
In Art Taylor's seminal book of interviews, Notes and Tones (Da Capo, 1977/1993), the drummer asks Dexter Gordon what he thinks of free jazz. Dexter's answer is, naturally, ironic and non-committal, but he closes with “although the way you play it [Arthur] is very good. Art Taylor did, after all, have a brief career as a ...
Ravish Momin and Trio Tarana: Climbing the Banyan Tree
by Clifford Allen
Drummer Ravish Momin, for his second date as a leader in five years (the other being Sound Dissolving Sound, on Sachimay) has assembled a trio with a truly diverse range of interests and a value expanding on much of the Afro-Asian influence that has entered the jazz canon. Late of Kalaparush and The Light and the ...
Cor Fuhler: Corkestra
by Clifford Allen
Cor Fuhler Corkestra Data Records 2004 Though a significant number of fluxus and neo-dada artists were in fact American and American expatriates, the penchant for obtuse, referential destructuralization did not catch on in American jazz as much as it did in European improvised music. One has only to ...
Uncle Woody Sullender: Nothing is Certain but Death
by Clifford Allen
Solo playing is, to paraphrase guitarist Derek Bailey, a crucial means of investigating the process of sound production, to isolate and expand upon a language separate from group conversation. But as diction and sentence structure develop for a certain instrument, the ways of using these elements do become fewer, or at least more “practiced." For example, ...
