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Anthony Braxton: Ten Compositions Quartet (2000)
by Derek Taylor
Anthony Braxton carries with him many of the trappings of genius. A predilection for sudden and unexpected shifts in theoretical and praxical direction, a wholly original and often incomprehensible method of notating his ideas, a tendency to pursue individual innovations to point that many outside observers might deem excess- all of these are part of his ...
Nils Wogram/Konrad Bauer/Dominic Duval: Serious Fun + One
by Derek Taylor
The CIMP meeting between German improvising trombonists Nils Wogram and Konrad Bauer captured on Serious Fun was one of the most unusual and satisfying entries in the label’s batch of 2000 releases. Unbeknownst to most listeners (myself included) the session that yielded that disc had an addendum. Bassist Dominic Duval, on return trip from Guelph, Ontario ...
Jim Beebe's Chicago Jazz: Saturday Night Function
by Derek Taylor
For as long as there has been jazz there’s been the myth of its demise. At various points in the long and winding history of its evolution detractors and even its devotees have waxed authoritatively about the so-called “Death of Jazz.” Prognosticated causes have run a wide gamut ranging from the birth of new styles to ...
Rosella Washington & Tyrone Brown: Rosellla: A Good Place To Start
by Derek Taylor
The line-up on this disc is likely to puzzle most listeners familiar with previous entries in the CIMP catalog. Those seeking fiery rendered free jazz rife with ecstatic energy or obliquely sculpted chamber resonances will find their initial apprehensions realized. This may not be an expected CIMP date, but it’s not the first to showcase the ...
Herb Robertson & Phil Haynes: Ritual
by Derek Taylor
Extended length duo recordings aren’t exactly a scarcity in modern improvised music, but this set effectively raises a high bar nonetheless, both in terms of difficulty and nonidiomatic artistry. Recorded hours after the quartet session that yielded Brooklyn-Berlin (CIMP 221) the disc divides the earlier group down to the creative core of Robertson and Haynes. The ...
Scott Fields Ensemble: Mamet
by Derek Taylor
In search for vessels of influence beyond expected musical sources Wisconsin based guitarist Scott Fields has uncovered an intriguing fount of inspiration for his debut Delmark release in the dramatic work of modern American playwrights. Stripped down to power trio instrumentation, but often employing a diffuse long-winded approach Fields explores many of the same sound relationships ...
Herbert Moslang & Andy Guhl: Knack On
by Derek Taylor
Another freshly excavated electro-acoustic epic on John Corbett’s essential Unheard imprint Moslang and Guhl’s Knack On is a challenging listen on the same level as last year’s Nachtluft reissue. Celebrated sound experimentalist Jim O’Rourke again pens the liners, reveling in the noise for noise sake artistry favored by this pair. While my own personal tastes lie ...
George Lewis: Hello Central
by Derek Taylor
New Orleans jazz doesn’t get much more authentic than George Lewis and his New Orleans Stompers’ faithfully rendered brand of traditional merry-making. Lewis and his colleagues recorded dozens of albums in dozens of settings, but their sound always remained at the root incorruptible and in its own sweet way sentimentally ecstatic. This reissue is no different ...
Sandole Brothers: And Friends
by Derek Taylor
The close-up shot of Philadelphia’s Liberty Bell that adorns the cover of this disc is exemplary of the music contained inside. Tame by the furious standards set by 1960s free jazz the Sandole’s forward-thinking experiments with time signatures and harmonic emancipations easily fell into the Avant-Garde camp of 1950s jazz. LaPorta’s trio excursions which round out ...
Bill Cole: Duets & Solos, Volume 1
by Derek Taylor
Bill Cole’s debut disc for Boxholder described the myriad strengths of his Untempered Ensemble at full muster ranging through a handful of powerful and highly personal compositions. Comprising a formidable roster of improvisers including Cooper-Moore, William Parker and Joseph Daley, and adhering to Cole’s rubric of incorporating non-Western instruments into jazz-based improvisatory settings the group was ...
