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Sentieri Selvaggi: AC/DC
by John Kelman
While the question of what jazz is and what it isn't is an ongoing debate, jazz isn't the only genre facing an identity crisis. Just as it may be an exercise in futility to link Wes Montgomery with Marc Ducret, clear points of reference in classical music are becoming equally difficult to find. Groups like Clogs, ...
Ingrid Jensen: At Sea
by John Kelman
In writing about trumpeter Ingrid Jensen's Here on Earth, I concluded with this thought: “While Jensen's style is distinctive, and she is a capable leader who surrounds herself with performers who understand the importance of interplay, one walks away... feeling that there is more to be seen, that she has yet to deliver a definitive statement. ...
Ben Goldberg Quintet: The Door, The Hat, The Chair, The Fact
by John Kelman
He's been active for fifteen years, but unless you know the New Klezmer Trio or have followed the Bay Area scene, chances are you haven't heard of clarinetist Ben Goldberg. Despite appearing on records by Charlie Hunter, Tin Hat Trio and John Zorn, in addition to half a dozen albums released under his own name, he's ...
Erik Friedlander: Prowl
by John Kelman
While cellist Erik Friedlander's last release with his Topaz quartet, Quake (Cryptogramophone, 2003), was a more cosmopolitan affair, Prowl is more localized. Emphasizing African rhythms, largely from percussionist Satoshi Takeishi's unusual hybrid of traditional drums and assorted percussion esoterica, this may be Topaz's most focused release to date. That's not to say there isn't plenty of ...
Steve Khan: The Green Field
by John Kelman
Nine years have passed since guitarist Steve Khan last released an album as a leader. But he hasn't been inactive, touring with artists like Terri Lyne Carrington and Greg Osby and co-leading the Caribbean Jazz Project. However, it's been far too long since he's released an album putting his immediately recognizable style front and centre.
Stefano Battaglia: Raccolto
by John Kelman
As the international community becomes increasingly aware of the vibrant Italian jazz scene through labels like EGEA and Cam Jazz, it's important to remember that ECM has also brought artists like trumpeter Enrico Rava, accordionist Gianni Cosca and reedman Gianluigi Trovesi to broader audiences. Add to that list pianist Stefano Battaglia, who has been on the ...
Manu Katche: Neighbourhood
by John Kelman
He may be better known as the rhythm engine behind popular music icons like Sting and Peter Gabriel, but Manu Katché has always been more than a simple backbeat, despite his unerring ability to create accessible, danceable grooves. His work on ECM stalwart Jan Garbarek's albums I Took Up the Ruins and In Praise of Dreams ...
Jon Balke / Batagraf: Statements
by John Kelman
Even the most distinctive artists, who have honed voices that distinguish them from their peers, typically have some identifiable precedents. Norwegian pianist Jon Balke's earlier works with Oslo 13 and the Magnetic North Orchestra all bear obscured antecedents that can be found by digging deep enough. Recent albums like Diverted Travels (ECM, 2004) seem to operate ...
Iro Haarla: Northbound
by John Kelman
Iro Haarla may not be particularly well-known, but the Finnish pianist/harpist's influence has been felt by anyone familiar with the work of her late husband, drummer Edward Vesala. According to saxophonist Trygve Seim--who not only played with Vesala towards the end of his life, but is also part of Haarla's quintet on her ECM debut, Northbound--Haarla ...
Terje Rypdal: Vossabrygg
by John Kelman
You don't need to know that Vossabyrgg means literally “Vossa Brew" to recognize this homage to the late trumpeter Miles Davis. From the first notes of “Ghostdancing"--which quotes directly from “Pharoah's Dance" on Miles' 1970 classic, Bitches Brew--it's clear that Norwegian guitarist Terje Rypdal is mining turf similar to early records like What Comes After (ECM, ...
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