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Dave Burrell / Sam Woodyard: The Lost Session, Paris 1979
by John Sharpe
A lot of hoohah gets thrown around about legendary lost dates, but few live up to the billing. But The Lost Session by pianist Dave Burrell and drummer Sam Woodyard assuredly does. During the summer of 1979, Burrell had a three-month stand at the Campagne Premiere Club in Paris, which allowed him to fully explore and ...
John Dikeman: Old Adam On Turtle Island
by John Sharpe
Committed improviser John Dikeman assembles a crack Amsterdam domiciled quartet to navigate Old Adam On Turtle Island, a song cycle that probes the intersections of colonization, religion, and their potential to inspire transcendence or tyranny. The framework is deliberately loose: a schematic more than a score, allowing the musicians to chart the course collectively. Themes emerge ...
Silke Eberhard Trio: Being-A-Ning
by John Sharpe
Adventurous German saxophonist Silke Eberhard has long favored the trio format as a proving ground, even as she splits her time with her larger Potsa Lotsa ensemble, and other projects. With bassist Jan Roder and drummer Kay Lübke, she has cultivated a rapport that feels both intuitive and restless. Being-A-Ning, the group's fifth release--each one bearing ...
Karen Borca / Paul Murphy: Entwined
by John Sharpe
Entwined pairs pioneering bassoonist Karen Borca with drummer Paul Murphy in an unadorned duet setting. It arrives hot on the heels of her leadership debut Good News Blues (NoBusiness, 2024). While the latter comprised archival concert tapes of sets from the 1998 and 2005 Vision Festivals, the former is an undated studio session which presents both ...
Natsuki Tamura / Satoko Fujii / Ramon Lopez: Yama Kawa Umi
by John Sharpe
Encounters with Japanese pianist Satoko Fujii arrive with mindboggling regularity, yet her output remains remarkably immune to routine. Yama Kawa Umi reunites her with trumpeter (and husband) Natsuki Tamura and Paris-domiciled Spanish drummer Ramon Lopez, resuming the volatile chemistry first heard on Mantle (NotTwo, 2020). Across eight compositions--five by Fujii, three by Tamura--and a brief collective, ...
Myra Melford: Splash
by John Sharpe
Pianist Myra Melford returns to the classic piano trio format for the first time since The Guest House (Enja, 2011), her acclaimed outing with Trio M with Mark Dresser and Matt Wilson. This time, the lineup is no less formidable: bassist Michael Formanek and drummer/vibraphonist Ches Smith--both commanding improvisers and bandleaders--join her for a set that ...
Abdou - Gouband - Warelis: Hammer, Roll and Leaf
by John Sharpe
The multinational threesome of French saxophonist Sakina Abdou, French percussionist Toma Gouband and Polish pianist Marta Warelis establishes a striking group identity on Hammer Roll Leaf. From the opening track, “Roll," the trio's compositional instincts and collective discipline distinguish them from the crowded field of free improvisers. Warelis begins with cascading piano figures--robust, resonant and allowed ...
Ivo Perelman: Armageddon Flower
by John Sharpe
Pianist Matthew Shipp serves as the fulcrum of Armageddon Flower, a riveting quartet date that unites two longstanding units: the duo with tenor saxophonist Ivo Perelman, and his String Trio with violist Mat Maneri and bassist William Parker. However, no-one is confined by past roles. Each of these four players has collaborated in multiple configurations over ...
Sophie Agnel: Song (Sophie Agnel)
by John Sharpe
With Song, Sophie Agnel confirms her place as one of the most stimulating and inventive pianists on the European improvising scheme. While she has long been a formidable partner to the likes of John Butcher, John Edwards and Steve Noble, here she underscores her worth as a soloist. But that is not quite ...
Alexander Hawkins: Song Unconditional
by John Sharpe
Where on the first solo outing by British pianist Alexander Hawkins, Song Singular (Babel, 2014), his influences strode in plain sight, and the second, Iron Into Wind (Intakt, 2019), in its austerity, nodded toward Hawkins' classical schooling, Song Unconditional feels simultaneously more personal and more welcoming. It finds Hawkins not only consolidating the vocabulary of his ...
