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Roscoe Mitchell with Ostravska Banda: Distant Radio Transmission
by Mark Corroto
Sometimes music makes you want to become a better dancer, or maybe even a better lover. With Roscoe Mitchell's music, you can't help but aspire to be a better listener. The co-founder of the Art Ensemble of Chicago and the Association for the Advancement of Creative Musicians creates sounds that transcend jazz, new classical, and avant-garde ...
Cory Smythe: Accelerate Every Voice
by Karl Ackermann
Pianist/electronics artist/composer Cory Smythe's Pyroclastic Records debut Circulate Susanna (2018) was a tongue-in-cheek attribution to the inspiration of a fictional event. He returns to the Kris Davis run label with the intriguing, socially-conscious and genre-less Accelerate Every Voice. Inspired by an assortment of sources: Andrew Hill's Lift Every Voice (Blue Note, 1970), the work of Harlem ...
Matthew Shipp: Poetic Connection
by Seton Hawkins
It is difficult to describe the impact of pianist and composer Matthew Shipp without descending into hyperbole. A core figure in the now-legendary David S. Ware Quartet, a bandleader with a staggering recording output, a groundbreaking curator for the influential Blues Series of Thirsty Ear Records, Matthew Shipp has also more recently broken new ...
Aruán Ortiz with Andrew Cyrille & Mauricio Herrera: Inside Rhythmic Falls
by John Sharpe
Cuban pianist Aruan Ortiz' fifth release for the Swiss Intakt label sits midway between his solo Cub(an)ism (2017) and dates by his Trio such as Live In Zurich (2018). In spite of the title, while there is a greater rhythmic impulse than on the unaccompanied session, the interaction largely pulls back from the intoxicating momentum of ...
Roscoe Mitchell with Ostravska Banda: Distant Radio Transmission
by Karl Ackermann
Roscoe Mitchell, a co-founder of the AACM and Art Ensemble of Chicago, continues to discover new intersections of jazz, classical and avant-garde music with Distant Radio Transmission. As he approaches eighty years of age Mitchell has waved off time and tradition, reinventing the AEoC brand with the orchestrated--sometimes operatic--We Are on the Edge: A 50th Anniversary ...
Miles Okazaki: The Sky Below
by Vincenzo Roggero
Tre quinti dei Five Elements di Steve Coleman più il pianista dei Snakeoil di Tim Berne sono roba da spellarsi le mani e The Sky Below, a tre anni di distanza da Trickster -acclamato debutto del quartetto con Craig Taborn al pianoforte, qui rimpiazzato per l'appunto da Matt Mitchell—non delude le attese. L'avvicendamento tra due fuoriclasse ...
ECM50 At Lincoln Center
by Luciano Rossetti
Photos from the “ECM50" celebration held in at The Lincoln Center in New York on November 1st. The special event featured among others: Andrew Cyrille, Joe Lovano, Wadada Leo Smith, Anja Lechner, Avishai Cohen, Bill Frisell, Marilyn Crispell, Craig Taborn, Egberto Gismonti, Enrico Rava, Mark Turner, Ethan Iverson, Larry Grenadier, Vijay Iyer, Jack DeJohnette, Nik Bartsch, ...
Michael Formanek Very Practical Trio: Even Better
by Giuseppe Segala
Trigonometria musicale? Triangolazioni sonore? Certamente, la formula del trio ha sempre riscosso un'attenzione speciale nel jazz, non solamente nella sua forma classica e costantemente esplorata, che affianca pianoforte, contrabbasso e batteria. In particolare Jimmy Giuffre, negli anni Cinquanta e Sessanta, ne ha esplorato con grande profondità e acume alcune possibili varianti, sondando dinamiche, centri di gravità ...
Maria Pia De Vito: Bergamo Jazz and Beyond
by Libero Farnè
Non tutte le cantanti, attraverso l'espressione interpretativa, riescono a mettere in piena evidenza il mondo socio-culturale che sta all'origine delle singole canzoni da loro proposte. Proprio questa sembra essere la preoccupazione irrinunciabile di Maria Pia De Vito, che col suo lavoro ha sempre teso a esaltare l'interconnessione, strettissima, indispensabile, fra il livello colto e quello popolare, ...
Marie Kruttli e il Questionario di Proust
by Paolo Peviani
Il tratto principale della mia musica Penso che la mia musica sia abbastanza estrema. Esprimo molte cose. Spesso non è tonale. Quindi per essere apprezzata ha bisogno di persone con la mente aperta. La qualità che desidero nei musicisti che suonano con me La loro fiducia in me e nella ...
