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The Volcanic World Of Pyroclastic Records
by Mark Corroto
As listeners we so often typecast musicians and music labels. Artists are pigeonholed into silos: classical, jazz, rock, blues, pop, etc.. Go into any record store (if you can find a brick & mortar one) and this segregation, a forced separation, is also evident. Even streaming services are divided in this manner. Maybe it is just ...
I Don't Hear Nothin' But The Blues: I Don't Hear Nothin' But The Blues Volume 3: Anatomical Snuffbox
by Karl Ackermann
The prolific and eclectic saxophonist/composer Jon Irabagon finds his most uninhibited side with his I Donʼt Hear Nothinʼ but the Blues (IDHNBTB) group, one he aptly describes as his “brutal ensemble." I Don't Hear Nothin' but the Blues Volume 3: Anatomical Snuffbox expands the group that debuted as a duo, then became a trio on Volume ...
Mary Halvorson's Code Girl: Artlessly Falling
by Vic Albani
Esistono due donne nel mondo del jazz moderno che hanno mostrato di conoscere e capire in toto il genio musicale di Robert Wyatt. La prima, molto tempo fa e quindi in tempi non sospetti, è stata Carla Bley e non c'è altro da aggiungere. La seconda, che è invece colei di cui vogliamo scrivere, è Mary ...
Tim Berne: The Deceptive 4—Live
by Mark Corroto
The difference between disc one and disc two of Tim Berne's Snakeoil release The Deceptive 4, two live recordings made eight years apart, might be the same difference between Miles Davis' first and second great quintets. Where Davis' The Legendary Prestige Quintet Sessions (Prestige, 2006) with John Coltrane from 1955-56 are stellar, they lack the complex ...
Chris Pitsiokos / Javier Areal Velez / Kevin Murray: First Blush
by Mark Corroto
Was this gig at New York's Downtown Music Gallery in January, 2020, a one-off performance? Saxophonist Chris Pitsiokos was scheduled to perform solo, probably to promote his extraordinary solo release Speak In Tongues (Relative Pitch, 2019), but chose instead to expand to a trio. And a new trio at that. This wasn't one of his recent ...
Tashi Dorji: Stateless
by Gareth Thompson
It was an ambitious move from Bhutan to Asheville, North Carolina, that helped shape Tashi Dorji's musical direction. The guitarist had previously been steeped in classic rock and hair metal, but as a foreign exchange student he soon absorbed punk and free jazz. Two saxophonists in particular, John Zorn and Albert Ayler, inspired Dorji to his ...
Marc Urselli: Between Bolan and Willner, tradition and innovation
by Emmanuel Di Tommaso
The wait is over. The much anticipated Angelheaded Hipster: The Songs of Marc Bolan & T-Rex has been released by BMG after a number of vicissitudes, not least the COVID-19 pandemic, which took the album's producer Hal Willner, on April 7, 2020, one day after his 64th birthday. Angelheaded Hipster was his swan song. ...
Petra Haden, Bill Frisell, Jimmy Heath, Jorge Roeder & More
by Ludovico Granvassu
As we continue our exploration of the best in new and upcoming jazz, this week we look into a unique project featuring the music of John Zorn and lyrics of Jesse Harris written with the unique voice of Petra Haden in mind, a special album that blends beautifully with the new releases by Bill Frisell, Jorge ...
The Pat Metheny Songbook - A New Jazz Canon, Part 1
by Ludovico Granvassu
This week we launch a series of episodes that, from time to time, we'll look at the work of contemporary jazz players as composers, rather than performers, from Tim Berne to Geri Allen, Bill Frisell, Carla Bley, John Zorn, Brad Mehldau and many more. We are starting this series with Pat Metheny, the author ...
Jorge Roeder: El Suelo Mío
by Mark Corroto
Let's not call it pandemic music. Yes, it is a solo recording, but Jorge Roeder conceived of and recorded El Suelo Mío before this world wide pandemic. The bassist is a member of John Zorn's New Masada Quartet, Ryan Keberle's Catharsis, and Julian Lage's ensembles, to name just a few. He has a sound that is ...
