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Glen Hall and Outsource: The Roswell Incident
by AAJ Staff
Glen Hall is a Canadian saxophonist, whose previous release was Hallucination: Music and Words For William Burroughs. I'm no fan of Burroughs' but Hall's collaboration there struck me as being the sort of almost-compilation one often finds on labels such as Sub Rosa. The numbers on that Leo disc varied from playful jazz to text with ...
Herb Robertson and The Double Infinitives: Music For Long Attention Spans
by Glenn Astarita
No doubt Herb Robertson is one of the criminally under-recognized trumpeters in modern jazz and free improvisation as his highly praised work with alto saxophonist Tim Berne and recordings for the much beloved “JMT” jazz label will attest to his musical individuality. However, Robertson has since charted fertile terrain with some of Europe’s finest, although this ...
Masashi Harada & Barre Phillips: Voluminous Venture
by Glenn Astarita
This new release might serve as a paradigm of improvisational inventiveness for bass-piano pairings. Here, pianist/percussionist Masashi Harada teams up with esteemed modern jazz bassist Barre Phillips for a set brimming with subtly melodic, fragmented passages and the twosomes’ compassionate melding of harmonically rich micro themes with propulsive episodes. Furthermore, the musicians’ allow themselves ample amounts ...
Glen Hall and Outsource: The Roswell Incident
by AAJ Staff
Listen. After a brief cacophonous shout of improvised freedom, The Roswell Incident lures you in with a measured, loosely harmonized saxophone theme. The opener, “Mescal's Pastels," then breaks loose into a no holds-barred up-tempo jam. Saxophonist Glen Hall plays a leading role here, spurting fast and furious melody lines over pulsing rhythm section accompaniment. Hall and ...
Joachim Gies: Whispering Blue
by AAJ Staff
The use of the saxophone to generate sounds outside the limits of its “design" has been a longstanding tradition in jazz, from the honks and squeals of the music's earliest practitioners, through the wrenching vocalizations of players like Ayler and Coltrane, and continuing on today through the latest generation of sonic explorers, including the wildly inventive ...
The Remote Viewers: Stranded Depots
by Glenn Astarita
The trio known as “The Remote Viewers” continues with their tightly woven sax/synth arrangements amid Louise Petts’ often deviously alluring vocals, evidenced on “The Slow Edge” and elsewhere. “Sequences of Regret” features haunting EFX, sounds of the pocket theremin and counteracting horn choruses, whereas the band also intermingles semi-classical undercurrents with intricately executed modern jazz-based interludes ...
Anthony Braxton: Composition N. 247
by Glenn Astarita
Somewhat of a contrast to the modern jazz/improv-based ensemble work witnessed on the acclaimed multi-reedman/composer’s recent releases on “hatOLOGY” and the “C.I.M.P” jazz labels, Anthony Braxton’s Composition N. 247 is a trio outing featuring saxophonist/clarinetist James Fei and bagpipe performer, Matthew Welch. Hence, an unlikely instrumentation mix, yet Braxton, ever the innovator, perhaps parallels a scientist ...
Steven Lantner-Joe Maneri-Joe Morris: Voices Lowered
by Glenn Astarita
No one gloms the spotlight on Voices Lowered, as the musicians' draw upon a spontaneous group related effort consisting of three-way conversations, micro-themes and abstract lyricism. With works such as “Dirty Daisies , the band conveys a circular flow, accentuated by Joe Maneri's brawny tenor sax lines in conjunction with Joe Morris' intricately executed single note ...
Carlo Actis Dato: The Moonwalker
by AAJ Staff
Never one to be longwinded about his ideas, Carlo Actis Dato dashes off twenty quickies on The Moonwalker. Only one of these solo tunes is longer than four minutes; the rest hover in the range where short attention spans stay satisfied. Typically clever and quick-witted, Dato isn't above making fun of himself (as he does with ...
Ivo Perelman and Jay Rosen: The Hammer
by AAJ Staff
Make all the comparisons you want: saxophonist Ivo Perelman has his own distinctive sound. At times exercising the split-tone multiphonics of Albert Ayler, at others relentlessly pursuing themes a la Coltrane, Perelman certainly draws heavily upon the free jazz tradition. But what sets his music apart is its personal character. On The Hammer, he further confounds ...
