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Peter Brötzmann / Heather Leigh: Ears Are Filled With Wonder
by John Sharpe
Iconoclastic German reedman Peter Brötzmann has appeared in almost every conceivable combination and circumstance over the years, from the maelstrom of Last Exit to the austere horn choir of Sonore, via hook ups with almost everyone in between, counting such free jazz luminaries as Cecil Taylor, Anthony Braxton and Evan Parker. However on Ears Are Filled ...
Andreas Willers / Urs Leimgruber: Pale White Shout
by Glenn Astarita
Guitarist Andreas Willers (Germany) and saxophonist Urs Leimgruber (Switzerland) are among Europe's most prominent improvisers and free-thinkers. On this outing their experimental metrics are quite rangy and focused, offering the antithesis to a madcap free-form blowing session. The duo alternates between controlled thematic buildups and subdued encounters with polytonal dialogues along with certain parts that elicit ...
Lajos Dudas: Brückenshlag
by C. Michael Bailey
Clarinetist Lajos Dudas is a vector talent, having both a fixed direction and potent momentum associated with it. His music is descendant of Jimmy Giuffre's early '60s recordings with bassist Steve Swallow and pianist Paul Bley. Dudas' music is an evolution into a freer, yet more structured performance form. Both his vertical and horizontal improvisations possess ...
Cristián Alvear: Guitarist, Alone
by John Eyles
Leaving aside Jürg Frey's impressive contributions as a clarinetist, this two-CD set joins an already impressive list of Another Timbre releases featuring Frey as composer; these include Circles and Landscapes (2015), six solo piano pieces played by Philip Thomas, Grizzana and other pieces 2009-2014 (2015), a double CD of Frey compositions played by his own Ensemble ...
Peter Brötzmann/Full Blast: Risc
by Mark Corroto
The Full Blast trio of saxophonist Peter Brötzmann, Marino Pliakas, and Michael Wertmüller get an injection of fervency with the electronics of Gerd Rische. As if they needed any more ferocity. Risc is the fifth official release by the trio, and follows the ambitious Sketches And Ballads (Trost, 2011). Like Brötzmann's Last Exit recordings ...
Igor Osypov Quartet: Dream Delivery
by Dave Wayne
Igor Osypov's debut album, I (Unit Records, 2015), was quite promising in many ways. Yet, it was a snapshot of an artist still in the formative stages of the craft. Thus, the content of the Berlin-based plectrist's Dream Delivery came as a pleasant shock. Seemingly, within the past year, Osypov has taken prodigious strides towards staking ...
Umlaut Big Band: Euro Swing Vol. 2
by Mark Corroto
In Elvis Costello's autobiography, Unfaithful Music & Disappearing Ink (2015), he writes about his mother working in a music shop in the 1940s in Britain, and how she somehow became an expert in acquiring American jazz records from musicians and other international travelers. Certainly, she learned her craft from other music sellers and fans, maybe a ...
Glauco Venier: Miniatures
by Mark Sullivan
Italian pianist Glauco Venier presents a delicate program of “Music for piano and percussion" on his first solo album for ECM. The approach came out of music Venier made for a documentary film about sculptor Giorgio Celiberti, which involved piano plus playing on “sonorous sculptures" (metal sculptures designed to also have sound qualities). For this recording ...
Alessandro Bosetti: Stille Post (Radio Works: 2003-2011)
by Mark Corroto
Do you agree with Alessandro Bosetti, that there is art everywhere? A buena vista is a painting waiting to happen, the music of the wind through a stand of conifers, and even the familiar subway stops as they come past are a sort of poetry. The conductor calls out, “Montrose, Irving Park, Addison, Belmont, California, Western, ...
Paul Hubweber, Frank Paul Schubert, Alexander von Schlippenbach, Clayton Thomas, Willi Kellers: Intricacies
by Angelo Leonardi
Questo concerto del 24 febbraio 2014 al B-Flat Club di Berlino, vede la luce in un doppio CD dal titolo rappresentativo. I lunghi brani sviluppati dal quintetto evidenziano quell'intreccio di voci che è proprio della musica liberamente improvvisata, che qui si ripropone nelle forme caratteristiche dell'avanguardia europea degli anni settanta. Il quintetto è formato ...
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