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Metallic Taste of Blood: Metallic Taste of Blood
by Glenn Astarita
The album title could automatically allude to an outing by a hardcore death-metal band, yet Metallic Taste of Blood's diverse lineup touches on this quotient of loudly intense fare to coincide with other voluminous, enterprising factors. Here, guitarist/producer Eraldo Bernocchi teams with Porcupine Tree bassist Colin Edwin, keyboardist Jamie Saft (John Zorn, Bad Brains, Black Shabbis) ...
Satoko Fujii and Natsuki Tamura: Emotional Intimacy, Musical Breadth
by Jeff Dayton-Johnson
Natsuki Tamura & Satoko FujiiMukuLibra2012Gato LibreForeverLibra2012Pianist Satoko Fujii and trumpeter Natsuki Tamura, wife and husband, maintain a staggering productivity, in terms of quantity, quality--and, most incredibly, in terms of variety. At one moment, they lead a powerful post-free ensemble; When ...
Hugo Carvalhais: Particula
by Eyal Hareuveni
Portuguese bassist Hugo Carvalhais creates a highly personal musical universe on this, his sophomore release. His compositions draw inspiration from the American free jazz of the sixties, the sonic experimentalism of saxophonist John Zorn and guitarist Fred Frith, and European chamber jazz, but do not surrender to any of these formative influences. Furthermore, Carvalhais chooses a ...
2012 Tampere Jazz Happening: Tampere, Finland, November 1-4, 2012
by Martin Longley
Tampere Jazz Happening Tampere, Finland November 1-4, 2012 Here's another veteran jazz festival, and one which has been gaining increasing international recognition during recent years. This is a Happening with a personality. A distinct orientation to its programming, and a taste for the more adventurous aspects of jazz. The Finnish ...
Cortex: Göteborg
by Eyal Hareuveni
Norway's Cortex released its highly promising debut, Resection (Bolage), in 2011. The members of this high-octane quartet met during jazz studies in Trondheim, and began working as a band in 2007. Cortex follows the free jazz legacy of Ornette Coleman quartet with trumpeter Don Cherry, spicing it with wise, original compositions and uncompromising performances inspired by ...
Best of 2012
by Mr. P.C.
Dear Mr. P.C.:I've noticed that when a lot of the younger groups rearrange a standard or pop song, they take out a beat here and there. It keeps me off guard and if I don't count I lose track of the downbeat. But that's fine. What I'm wondering is: Where do those beats go?
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