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Results for "Hatology"
Pauline Oliveros: The Roots of the Moment
by Kurt Gottschalk
While Pauline Oliveros' output has its high and low marks, the composer, accordionist and organizer is an undeniable force in new music. For fifty years she has pursued sonic experiments, and as the founder of the Deep Listening Institute, she has supported many other sound innovators. Sadly, it's sometimes easier to respect her from ...
Polwechsel: Archives of the North
by Kurt Gottschalk
In a world based largely on solo and duo work and chance collaborations, Polwechsel and poire_z were supergroups. The quiet flutters of electronics and acoustic instruments can be hard enough to keep fresh and engaging for two performers, but often times larger groups just blur the whole creation--becoming more like a mud puddle than a cloud. ...
Warne Marsh Quartet: Ne Plus Ultra
by Nic Jones
The passing of time has done nothing to reduce the singularity of Warne Marsh's art, and this set, recorded at the end of the 1960s, is an excellent working definition. Marsh was always a musician for whom points of reference in terms of influences were never helpful. To say, for example, that he shared a certain ...
Pauline Oliveros: The Roots of the Moment
by Brad Glanden
The music of Pauline Oliveros invites a consideration of her philosophical perspective, as the former is an outgrowth of the latter. Having established herself in the 1960s as one of the first composers to utilize electronics, Oliveros has since replaced the tape and oscillator experiments of her early work with performances that employ her interactive methodology ...
Theo Jorgensmann: Fellowship
by Brad Glanden
Free jazz arrangements often spurn the development of form and structure, deriving their complexity from inter-ensemble relationships. The specter of 1960s collective improvisation looms large over Theo Jörgensmann's Fellowship. Though the compositions are founded on epigrammatic themes, they weave an intricate framework for moment-to-moment interaction. The members of the clarinetist's conceptually sophisticated sextet bring six different ...
Max Nagl Ensemble: Quartier du Faisan
by AAJ Italy Staff
Le note di copertina di Quartier Du Faisan iniziano con una domanda semplice ma ricorrente nelle alterne vicende che accompagnano la musica afroamericana: “Is This Jazz ?“. Poco importa la risposta, soprattutto se l’oggetto in questione è un disco fresco, divertente, ben suonato, ricco di idee, anticonvenzionale come quello licenziato dal sassofonista e compositore austriaco Max ...
Wiesendanger / Weber / Ulrich: We Concentrate
by Ken Kase
Recorded live in Zurich on November 26, 2004, We Concentrate is a powerful statement by the Swiss piano trio of Chris Wiesendanger, Christian Weber and Dieter Ulrich. Casual jazz fans lulled into complacency by the familiarity of tunes by Cole Porter, George Gershwin and Victor Young are in for a bit of a shock, as the ...
Max Nagl Ensemble: Quartier du Faisan
by Eric J. Iannelli
You could say that the Max Nagl Ensemble puts an exciting contemporary spin on classic-sounding material. Or you could say the group takes contemporary material and gives it a universally accessible classic sound. Either way, you'd be right. This is an extremely flexible and versatile outfit that's hard to pin down, and so fun-loving and spontaneous ...
Manuel Mengis Gruppe 6: Into the Barn
by AAJ Italy Staff
Trombettista e compositore svizzero trentatreenne, Manuel Mengis debutta con un lavoro traboccante di energia che mette in luce le sue buone doti strumentali ed il fantasioso metodo compositivo. I referenti espressivi più evidenti sono Miles Davis per la dimensione solista e l'estetica “downtown" rappresentata dai gruppi Electric Masada di John Zorn, Latin for Travellers di Bobby ...
Theo Jörgensmann: Fellowship
by AAJ Italy Staff
La prima cosa che colpisce di questo album è l’organico, fatto di musicisti appartenenti a generazioni e geografie diverse dell’avanguardia (ammesso che questa parola abbia ancora - se mai ne ha avuto - un senso). Tutti musicisti dallo stile personalissimo ed allo stesso tempo ricco di influenze del passato e del presente del jazz (ma non ...
