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Pentangle: One More Road & Live 1994
by John Kelman
Amongst the artists who, to a greater or lesser extent, explored ways to marry traditional British folk with the energy of rock in the late 1960s and early 1970s, Fairport Convention, Steeleye Span and Pentangle stand out as three of the most memorable. But while Fairport and Steeleye would move further towards a rock aesthetic, Pentangle ...
Maria Schneider Orchestra: Sky Blue
by John Kelman
There's a reason that composer/bandleader Maria Schneider calls her large ensemble an orchestra. The term “big band suggests a number of inherent expectations relating to historical tradition. Schneider's group may be configured like a big band--five reeds, four trumpets, four trombones with an expanded rhythm section--but the music she writes delves into territories considerably farther afield. ...
Mark Isaacs: Resurgence
by John Kelman
After two albums exploring jazz standards and popular contemporary music--Keeping the Standards (Vorticity, 2004) and --Visions (Vorticity, 2006)--Australian pianist Mark Isaacs returns to original composition on Resurgence. A fixture on the Sydney scene, Isaacs has recruited his dream band for a strong program of contemporary mainstream jazz.. Isaac's American compatriots--bassist Jay Anderson, drummer Vinnie Colaiuta and, ...
John Surman: The Spaces in Between
by John Kelman
One challenge facing many musicians is the documentation of widespread musical interests. More often than not, artists engage in projects that are heard in performance, perhaps on a radio broadcast, but then never again. Sometimes ongoing projects are documented, but only once, as is the case with British woodwind multi-instrumentalist John Surman's superb Stranger Than Fiction ...
Paul Bley: Solo in Mondsee
by John Kelman
It's been thirty-five years since pianist Paul Bley released Open, to love (ECM, 1972), an early classic of the then-nascent German record label. While Keith Jarrett's Facing You, from the same year, would go on to generate greater acclaim for the young pianist, listening to these two discs side-by-side reveals Bley's unmistakable influence. Despite ongoing critical ...
Sinikka Langeland: Starflowers
by John Kelman
ECM has always looked for new ways to interpret traditional music from different cultures. As far back as 1973, saxophonist Jan Garbarek's Triptykon used a traditional Norwegian folk song as the starting point for open-ended improvisation. More recently, British traditionalist Robin Williamson has teamed with artists normally associated with free improvisation for The Iron Stone (2007), ...
Dagobert Bohm / Markus Reuter / Zoltan Lantos: String Unit
by John Kelman
Billed as Ambient World Jazz, and described as “crimsoid ingenuity seasoned with Oregon and Shakti, it's certainly a good capsule description of this intriguing record by acoustic guitarist Dagobert Böhm, touch guitarist Markus Reuter and violinist Zoltán Lantos. An album of elegant beauty, String Unit might, at one time, have been unceremoniously lumped into the New ...
The Claudia Quintet: For
by John Kelman
While it's invariably the intention of any group to make each new record an improvement or, at least, an evolution over the last one, it's rare that it actually happens with inevitable consistency. Bucking the trend since its eponymous 2001 CRI debut, percussionist/composer John Hollenbeck's Claudia Quintet has managed to make each successive release somehow different ...
Bill Frisell / Matt Chamberlain / Lee Townsend / Tucker Martine: Floratone
by John Kelman
The role of producer can range from bean counter and clock watcher to active musical participant, involved with details of arrangement and instrumentation. Still, it's almost unprecedented to see a collaborative group that lists not one, but two producers as actual band members. Even Teo Macero, who during Miles Davis' electric period, used innovative editing techniques ...
Joachim Kuhn and Majid Bekkas with Ramon Lopez: Kalimba
by John Kelman
While it's easy to categorize the assimilation of diverse musical cultures as world music, the term has become over-utilized and often misrepresented. German-born pianist Joachim Kühn, Moroccan guimbri/oud player Majid Bekkas and Spanish drummer Ramon Lopez intersect on Kalimba, an album that should dispense with oversimplified categorization. Instead, assessed on its own merits as an album ...
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