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Helen Sung: Helenistique
by Donald Elfman
The title Helenistique, a pun on the leader's name, calls to mind (also punningly) things Greek. The reference puzzled me at first, but it seems to now refer to this sterling young pianist's ability to sculpt intelligent and vital improvisations. She is a confident, technically brilliant keyboard artist who uses a fertile imagination to create new ...
Aaron Irwin Group: Into the Light
by John Kelman
The world is moving at an increasingly rapid pace, so it's not surprising that the impact of influential artists can be heard more immediately. New York-based altoist Aaron Irwin demonstrated plenty of promise with his independently released 2004 debut, Wide Awake. The mature approach to improvisation that belied his young age is still present on Into ...
Loren Stillman: It Could Be Anything
by AAJ Italy Staff
Una sorta di Francesco Cafiso d’oltreoceano ante-litteram (ha debuttato a quindici anni nientemeno che per la Soul Note) il contraltista Loren Stillman, ora ventiseienne, ha nel corso degli anni ricevuto una serie impressionante di riconoscimenti e attestati di stima, ma soprattutto ha coltivato interessi e frequentazioni che hanno contribuito al consolidamento di una visione musicale ad ...
Kris Davis: The Slightest Shift
by Brian P. Lonergan
The adjective that comes to mind again and again when listening to this quartet recording by pianist and composer Kris Davis is “refreshing. Much of The Slightest Shift sounds close to free improvisation, but there is also a recurring sense that one is listening to a modern chamber music ensemble. And the initial impression of at ...
Sebastian Noelle: Across The River
by Budd Kopman
Sebastian Noelle could easily be called an anti-guitarist. The way he approaches the instrument when he solos, combined with the nature of the music he composes, continuously thwarts expectations. He does this not in the manner of Derek Bailey, who almost destroyed the guitar as a reference point. But within the realm of jazz musicians who ...
Francisco Pais Quintet: Not Afraid of Color
by AAJ Italy Staff
Illude il primo brano di Not Afraid of Color. Un inizio lento, ricco di atmosfera, la cadenza di un blues che monta piano piano, un frullio sui metalli della batteria a creare una sorta di vuoto pneumatico, poi il ritmo deflagra, il Fender Rhodes ci riporta agli Anni Settanta, il sax tenore lancia lingue di fuoco ...
Jordi Matas: Racons
by Jason Crane
"After The Gig," the opening track on Racons, sounds like an electrified Oregon--not so much because of the instrumentation as the metrically loose but rhythmically sophisticated interplay of the quintet. That said, the reedy and lilting soprano sax work of Marti Serra runs through the track with Paul McCandless' shoes on.Jordi Matas is a ...
Jeremy Udden: Torchsongs
by Michael P. Gladstone
The experience Jeremy Udden gained through a six-year stint with Boston's Either/Orchestra seems to have given the saxophonist's debut album a variety of moods. The album was recorded in two sessions in 2003 and 2005, and several of the compositions were written while Udden was confined to his apartment for four months due to a case ...
Jason Rigby: Translucent Space
by Jerry D'Souza
On this aptly named album, Jason Rigby makes quite an impact. As a composer, he brings in his several musical influences. As a musician, he shows exemplary skill on the instruments he plays, including a wood flute that is used in India. Rigby keeps his charts open to various styles. For the most part, ...
Bob Reynolds: Can't Wait For Perfect
by Stephen Latessa
Way too many jazz “composers come up with a derivative riff and hastily christen the piece a composition. While that may be technically true, there is quite a difference between these works and full-bodied, sturdy efforts that can stand on their own. Fortunately for listeners, saxophonist Bob Reynolds easily earns the title of composer with the ...
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