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Alan Shorter: Mephistopholes to Orgasm Revisited
by Stefano Merighi
In questo CD dedicato ad Alan Shorter (tromba, flicorno, composizione) si ripropongono le sedute integrali di Orgasm (1968), precedute però da “Mephistopheles," di tre anni precedente, che figurava nella scaletta di The All Seeing Eye, del più celebre fratello Wayne. È un pezzo di una cupezza angosciante, sostenuto da un pedale ritmico minaccioso, dalle cui spire ...
Sergio Armaroli / Francesca Gemmo / Barry Guy: At Sotto Il Mare First Visit
by John Sharpe
Deep hinterlands distinguish the three protagonists on this exceptionally simpatico date and imbue it with a sharpened sense of purpose. You might call it freely improvised, but as the liner notes reveal, unplanned might be a better descriptor. Italian vibraphonist Sergio Armaroli, who seems to be the principal mover, reportedly gave short verbal instructions before the ...
Cecil Taylor: Live at Fat Tuesday's February 10, 1980
by Giuseppe Segala
Nella collana First Visit di ezz-thetics, dedicata a registrazioni storiche rimaste inedite fino a ora, l'etichetta svizzera Hat Hut Records pubblica il terzo CD di Live at Fat Tuesday's, completando così la documentazione degli straordinari concerti che videro impegnato il sestetto Unit di Cecil Taylor a New York dall'8 al 10 febbraio 1980. Come ...
Paul Bley: Floater & Syndrome The Upright Piano Sessions Revisited
by Chris May
One way for a musician to conjure rapture is through full-frontal shamanic assault, the sonic equivalent of the Orgasmatron machine that Jane Fonda's character encounters in Roger Vadim's 1968 sci-fi romp Barbarella. Funk is an ideal vehicle. But the sensations produced are superficial and short-lived. A less travelled path instead uses subtlety, understatement and nuance, and ...
Ellery Eskelin Trio New York: About (or On), First Visit
by Mark Corroto
It might be tempted to say that Ellery Eskelin's Trio New York is deconstructing the eleven standards on the two-disc set About (or On) First Visit. But that would be a misreading. This is not a breakdown of classic material in search of alternative meanings or structural analysis. Rather, Eskelin, alongside organist Gary Versace and drummer ...
Sergio Armaroli Quintet: Follow A Very Heavy Person
by Mark Corroto
Time, as a concept, transforms into an endless playground in the hands of Sergio Armaroli. In Follow A Very Heavy Person, the quintet expands upon the foundations laid in Introducing A Very Heavy Person, delving deeper into the sonic and philosophical dimensions of John Cage and Kenneth Patchen's 1942 experimental radio play, The City Wears A ...
Thelonious Monk, John Coltrane: Thelonious Monk with John Coltrane 1957. Revisited.
by Stefano Merighi
Ci sono sodalizi artistici che segnano in maniera indelebile la ricchezza creativa dei protagonisti. Tra questi, di sicuro quello tra Thelonious Monk e John Coltrane, anno di grazia 1957. L'estroso pianista e compositore, ancora lontano dal ricevere i riconoscimenti meritati, trova finalmente qualcuno che interpreta le sue partiture con rara dialettica esecutiva: leggerezza e ...
Albert Ayler Trio: Prophecy Live, First Visit
by Glenn Astarita
This 1964 New York City recording, now remastered and released on the Ezzthetics label, captures Albert Ayler with Gary Peacock and Sunny Murray at a crucial juncture in the saxophonist's development. This performance at the Cellar Cafe marks an early, vital snapshot of a trio that would become foundational to the free jazz movement. It is ...
Sergio Armaroli: Introducing A Very Heavy Person, First Visit
by Mark Corroto
If you reject the assumption that time is linear, the ability to conceive of a time machine is simple. Assume for this discussion that the concepts of past, present, and future are a false dichotomy. In other words, the past and the future simultaneously occur with the present. Composer and percussionist Sergio Armaroli accepts this premise ...
Tadd Dameron: Fontainebleau & Magic Touch Revisited
by Maurizio Zerbo
Le linee guida di Fontainebleau e Magic Touch, i due capolavori di Tadd Dameron qui riuniti in un solo CD, furono teorizzate dal pianista di Cleveland sulle pagine della rivista Record Changer, in cui descrisse come la sua adesione all'estetica del bebop fosse mediata dalla classica scrittura swing. Le forme multitematiche ABA e i ...
