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Daunik Lazro: Garden(s)
by Glenn Astarita
This progressive French trio features musicians who have respectively been at the forefront of Euro improvisational circles, partaking in numerous small and large ensemble formats. The synergy and inventive concepts many of us would anticipate is wholly inherent here, as the band covers Duke Ellington, Albert Ayler and John Coltrane bordering three group composed pieces “Garden(s) ...
The Beat Freaks: Leon
by Glenn Astarita
Based in Poland, guitarist Michał Starkiewicz founded this band in 2014, followed by successful concert tours and of course, this album that presents a modicum of youthful vim and vigor, largely within the progressive jazz schema amid a few slight nods to jazz fusion. Moreover, the musicians dedicate the album to a mythical figure Leon Kokaiewicz, ...
Trio Heinz Herbert: The Willisau Concert
by Glenn Astarita
Youthful ingenuity and meritorious technical aspects mark this Swiss trio's cunning live release at a Willisau venue, enhanced by a crystalline soundstage that spawns great depth amid the highs and lows. Moreover, their ability to multitask while generating a polytonal consortium of EFX-based treatments, while effortlessly sliding across numerous genres makes for a irrefutably compelling listen. ...
Shane Theriot: Still Motion
by Glenn Astarita
Hailing from New Orleans, guitarist and producer Shane Theriot is a solo artist and upper-echelon session ace amid his stints with Hall & Oates, Ben Folds, and the Neville Brothers as the list goes on. Indeed, he has that soul-funk New Orleans vibe going on. But Theriot's far-ranging capabilities include jazz and blues, yet more importantly, ...
Noah Kaplan Quartet: Cluster Swerve
by Glenn Astarita
Saxophonist Noah Kaplan's second album for the Switzerland-based hatOLOGY label equates to a six-year gap, following his debut, Descendants (2011). But the artist has been productive by pushing the envelope via his multi-purposed activities with various ensembles amid his status as a PhD candidate in Music Composition at prestigious Princeton University. He skirts the free-zone here, ...
Tim Blake: Crystal Machine
by Glenn Astarita
British synthesizer ace Tim Blake was the artist who created all those bizarre and textured synth sounds for prog rock acolytes, Gong from 1972-1975. He later joined legendary space rock band Hawkwind in 1979 for a spell, but connected with French lighting stylist Patrice Warrener to develop Crystal Machine, which of course, is the title of ...
Oberg / Mahall / Griener: Lacy Pool_2
by Glenn Astarita
Pianist Uwe Oberg didn't follow a straight and narrow path when putting together this formidable European trio. There is no bassist, and Rudi Mahall performs solely on clarinets, as most listeners would expect a soprano saxophone to be the mainstay of any band that pays homage to the late, modern-era jazz pioneer Steve Lacy. More importantly, ...
Archer / Mwamba / Bennett / Fairclough: Sunshine! Quartet
by Glenn Astarita
You never know what path British reedman, multi-instrumentalist Martin Archer will traverse. Whether he's leading orchestral units, freely improvised trios, avant-rock and electronics tinged fare or his recordings with legendary rock and jazz vocalist Julie Tippetts, the artist underscores his experimental implementations with the element of surprise. On this quartet date with his fellow countrymen, Archer ...
Magic Pie: King For A Day
by Glenn Astarita
This Norwegian band was assembled upon the notion of creating a progressive sound texture that signals the 70s, and to fuse musical propensities into the modern era by bridging classic rock into a hardcore prog rock idiom. This album follows Karisma Records' recent reissue / remasters and newly offered vinyl formats of Motions of Desire (2005) ...
Zero Times Everything: Sonic Cinema
by Glenn Astarita
Multi-instrumentalist Richard Sylvarnes encapsulates the trio's approach by stating: “In film making it is critical to create a sense of space; a world wholly imaginary that we can enter completely and without reservation. That is the first critical step in the creative process of Zero Times Everything." Therefore, it must be asserted that the musicians have ...
