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Alarm Will Sound: Acoustica: Alarm Will Sound performs Aphex Twin
by John Kelman
In a time when sampling, remixing and reinterpreting past acoustic works in an electronic fashion are commonplace, revisiting electronica in an acoustic environment may be the most daring move of all. And that's exactly what the 22-piece ensemble Alarm Will Sound--whose debut recording Tehillim/The Desert Music (Cantaloupe, 2002) put a fresh spin on two of minimalist ...
Deanna Witkowski: Length of Days
by John Kelman
Brian Camelio's ArtistShare model, allowing music to be distributed without the inherent loss of profitability that comes from dealing with all manner of middle men, has taken off in the past two years, with releases by artists like Maria Schneider, Jim Hall, and Cuong Vu. By placing more control in the artist's hands, he's made it ...
Magnus Lindgren: Music for the Neighbours
by John Kelman
It's all too easy to underestimate the European jazz scene's vibrancy from a distant perch in North America. After all, while labels like ECM, ACT, and Hatology have international distribution, there are far more that rarely see the light of day outside their own countries. Fortunately, the global access of the internet has made it possible ...
Steuart Liebig / Stigtette: Delta
by John Kelman
While he's experimented with larger ensembles on albums like Pomegranate (Cryptogramophone, 2001), contrabassguitarist Steuart Liebig tends to favour the more intimate context of the quartet. But his groups have been anything but conventional, with his three Quartetto Stig albums featuring violin, trumpet, contrabassguitar, and drums, and last year's Quicksilver (pfMentum) a combination of flute, violin, contrabassguitar, ...
Steve Amirault: Breath
by John Kelman
Gradually, and with little fanfare, the Canadian Effendi label has been amassing a substantial catalogue of contemporary jazz with special focus on Montreal's vibrant scene. That's not to suggest that all its artists are born and bred Montrealers. Pianist John Roney--heard recently on saxophonist Remi Bolduc's Cote D'écoute (Effendi, 2005)--originally comes from Toronto, while saxophonist Christine ...
Tim Hagans: Beautiful Lily
by John Kelman
While he's been by no means inactive, it's been six years since trumpeter Tim Hagans released his last album, Re-Animation: Live in Montreal, which found him exploring his own version of electronica/fusion. Beautiful Lily returns him to a mainstream acoustic setting, but with his stellar quartet--featuring pianist Marc Copland, bassist Drew Gress, and drummer Bill Stewart--it's ...
Bill Carrothers: Shine Ball
by John Kelman
2005 seems to be pianist Bill Carrothers' year. He's already released I Love Paris (Pirouet), a mainstream look at songs from the 1920's through the 1940s, and Civil War Diaries: Solo Piano (Illusions Music), where he took even greater liberties with American Civil War songs previously covered on The Blues and the Greys (Bridgeboy, 1997). The ...
Rich Halley Trio: Mountains And Plains
by John Kelman
Over the years, Oregon-based saxophonist Rich Halley has travelled in the same musical circles as intrepid woodwind multi-instrumentalist and Left Coast guru Vinny Golia. And while he's even released a couple of albums on Golia's Nine Winds label with Golia in tow as performer and/or producer, Halley's recent recorded output on Louie Records has focused exclusively ...
Kevin Ayers: The BBC Sessions 1970-1976
by John Kelman
It's always interesting to wonder what might have happened if a specific event in the history of a band hadn't occured. What would Soft Machine--a group ultimately more associated with jazz/rock and fusion--have become had original bassist/vocalist Kevin Ayers not left the band after an exhausting North American tour opening for Jimi Hendrix? Given Ayers' psychedelic ...
Michel Lambert: Le Passant (The Wanderer)
by John Kelman
The usual meeting place of improvisation and orchestra works around firm structure where the improvisers solo within the rigid confines of the orchestral arrangements, or the orchestra acts as an underlying support, scored in and around pre-existing extemporization. But in rare cases, daring composers have found ways to allow improvisers to remain untethered while at the ...
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