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Gene Ess: Fractal Attraction
by C. Michael Bailey
Using the voice as a melodic and harmonic instrument above and beyond scat singing or vocalese is increasing in popularity, as evidenced in recordings like Beata Pater's Red (B&B Records, 2013) and Lola Danza's The Island (Evolver, 2012). Vocalist Thana Alexa joins guitarist Gene Ess for an expansion of Ess' genre-breaking jazz philosophy, using the human ...
Martin Archer: Making A Difference, Doing Things Differently
by Duncan Heining
Martin Archer is a one-man music industry. Saxophonist, multi-instrumentalist, composer, producer, band-leader and label owner--Archer has made a virtue of doing things differently. From early beginnings in music forty years ago, he has built his label Discus into a catalog that is as fine in quality as it is eclectic in taste and content. Based in ...
Take Five With Barb Januszkiewicz
by AAJ Staff
Meet Barb Januszkiewicz: I am a painter who uses music in my work. I love jazz because it adds color to everything. I was first exposed to jazz by dad. I met Dave Liebman, and that everything changed for me because he showed me how we could mix jazz and art together—real fusion. He ...
Alexander Balanescu: The Aggressive Lyricism
by Adriana Carcu
Alexander Balanescu, the London-based violinist of Romanian origin, leads the avant- garde string quartet Balanescu Quartet, formed in 1987. Before that, Balanescu was part of the Michael Nyman Ensemble and Arditti Quartet. Ever since he has worked closely with artists of various musical orientations such as saxophonist John Lurie, singer David Byrne, pianists Keith Tippett and ...
Yuhan Su: Good Vibes
by Ian Patterson
Everybody loves the romance of a comeback: the phoenix-like rise from adversity, long-term exile, obscurity or defeat. Think of US President Abraham Lincoln's travails, boxer George Foreman's regaining the World Heavyweight title at the age of 45, actor Sean Connery's return as Bond, David Bowie's eternal reinvention or, indeed, the peculiar cycles of fashion that have ...
Howie Smith / Mike Nock: Opal Dream
by Matt Marshall
Although their paths didn't cross until 1988, when they first met and performed together in Sydney, Australia, saxophonist Howie Smith and pianist Mike Nock are both important figures in the development of jazz Down Under. Nock, a native of New Zealand, returned to Australia in 1985 after working 25 years in the U.S. with ...
Sten Standell: Music Inside The Language
by Eyal Hareuveni
Swedish pianist Sten Sandell is one of the key figures in the Scandinavian free jazz and improvisation scene: a visionary and experienced musician who has developed a profound musical language. He is a member of the Gush trio, with saxophonist Mats Gustafsson and drummer Raymond Strid, celebrating this year its 20th year of activity, and leads ...
Benoit Delbecq & Fred Hersch Double Trio's "Fun House" and Chris Clark's Debut "Cedar Wisely" Coming from Songlines
Songlines will release a pair of extremely diverse yet equally exciting albums on March 12. Fun House, the first recorded collaboration between the critically acclaimed pianists Benoit Delbecq and Fred Hersch, finds them performing in a rare double-trio configuration. It's a ground-breaking encounter and between jazz piano and the sonic resources of contemporary classical music, between ...
Mostly Other People Do the Killing: Setting the Record Straight
by Troy Collins
Mostly Other People Do the Killing is frequently typecast as one of today's most humorously irreverent young jazz groups, based in no small part on their provocative name, which was inspired by a quote attributed to inventor Leon Theremin--a survivor of the Soviet gulag who exonerated Stalin because “mostly other people did the killing." Bassist and ...
Imaginary Landscapes
By John Cage
Label: New Jazz Noises
Released: 2012
Track listing: 01. Imaginary landscape nr. 1 (1939) – 6:24; 02. Imaginary landscape nr. 3 (1942) – 3:04; 03. Imaginary landscape nr. 5 (1952) – 3:04; 04. Imaginary landscape nr. 2 (1942) – 5:33; 05 Imaginary landscape nr. 4 (1951) – 5:52; Sixteen dances (1951): 06. I-IV – 8:26; 07. V-VIII – 10:52; IX-XII – 10:20; XIII-XVI – 13:50.
