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Dennis Gonzalez - Joao Paulo: So Soft Yet
by Glenn Astarita
Recorded in Portugal, Texas trumpeter Dennis Gonzalez and Portuguese keyboardist Joao Paulo offer a temperate pastoral setting, grounded on the duo's intake of regional sensibilities, ethnocentricities and emotive responses to cultural and spiritual components. With the effective use of space acting as a third instrument, the duo strikes an ethereal balance, spanning open-air panoramas, lush phrasings ...
Taylor Ho Bynum Sextet: Apparent Distance
by Glenn Astarita
Cornetist Taylor Ho Bynum's craft and expansive ideological stance is firmly implanted within a modern day who's who list of cutting-edge stylists, where preconceived boundaries are slashed into fragments. With his long-running affiliation with famed multi-reedman and composer Anthony Braxton, the artist abides by a no-holds-barred belief, immersed in semi-structured musical persuasions. Bynum plays ...
Kjell Nordeson / Aram Shelton: Incline
by Glenn Astarita
The avant-garde schema is sort of an open-world platform where almost anything goes. But Incline is an album that sheds a radiant light on the sax-drums duo format, featuring an inordinate degree of textural components and a seamless integration of two like-minded artists, performing on similar planes. Here, Swedish drummer Kjell Nordeson and American alto saxophonist ...
Alexey Kruglov: Identification
by Glenn Astarita
Since the advent of the legendary Ganelin Trio, Russia's avant-garde impetus has made significant leaps since the Cold War era of the 1970s. One young artist continuing in this mode is saxophonist and multi-instrumentalist Alexey Kruglov. With his fourth date as a leader, he intermittently performs on two saxophones at once, and puts the mouthpieces aside ...
Benoit Delbecq / Francois Houle: Because She Hoped
by Glenn Astarita
The superior recording quality, tinged with reverb and a capacious aesthetic, serves as a third instrument on this studio recording by French pianist Benoit Delbecq and Canadian clarinetist Francois Houle. Both artists occupy that progressive, cutting-edge space within modern jazz contexts. With their third duo outing, the musicians use extended techniques in an intimate setting. Here, ...
Calling Signals 09: A Winter's Tour
by Glenn Astarita
British bassist Nick Stephens has always been a prominent mainstay within Europe's avant-jazz landscape. His affiliation with legendary British free-jazz pioneer and drummer John Stevens looms as one component of the bassist's overall dynamic and legacy. This rendition of Stephen's Calling Signals band was recorded live in 2009 during a brief tour of the U.K., and ...
Darren Johnston's Gone To Chicago: The Big Lift
by Glenn Astarita
Canada-reared, but calling San Francisco home since 1997, trumpeter and composer Darren Johnston delves into the Chicago's avant, modern-jazz establishment and kicks off a vibrant set, with prominent constituents of The Windy City's fertile soundscape. With The Big Lift, the trumpeter's ascending status within the outer reaches of jazz attains another hierarchical level. Peppered ...
Mats/Morgan Band: Live
by Glenn Astarita
In their teens, drummer Morgan Ågren and keyboardist Mats Öberg were invited to perform with Frank Zappa and, as the story goes, the Swedish duo formed this phenomenal ensemble that exercised a jaw-dropping mode of execution within the progressive-rock schema, amid some Zappa and jazz-centric influences. Revered for its otherworldly approach to the genre and superior ...
Pat Martino: Undeniable
by Glenn Astarita
Guitar virtuoso Pat Martino's long awaited album, recorded live at Blues Alley in Washington, D.C., serves as a homecoming of sorts, since he began his career within the classic jazz-organ combo format. As a leader, Undeniable is Martino's first album since the 2006 Blue Note Records Wes Montgomery tribute, Remember. Martino's quartet parlays a ...
Albert Ayler: Stockholm, Berlin 1966
by Glenn Astarita
Indeed, a desert island quality album reissued with a digital uplift of celebrated tenor saxophonist Albert Ayler's 1966 Stockholm and Berlin concerts, where the artist resides in a very special musical space unlike any other. With his infamous slants on America's historical affinity for march music, Ayler's colossal presence and coiling use of vibrato ...
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