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Jon Irabagon with Mike Pride: I Don't Hear Nothin' But the Blues
by AAJ Italy Staff
L'immagine di copertina che ritrae un vecchio treno merci con due figure appollaiate sul tetto e il titolo così didascalico e perentorio farebbero pensare ad una qualche rivisitazione della musica delle radici nelle sue varie declinazioni ancorate al mito del viaggio e dell'avventura. Niente di più fuorviante perché il blues del titolo compare nel ruvido attacco ...
Seabrook Power Plant: Seabrook Power Plant
by Stuart Broomer
Seabrook Power Plant seems like a plausible name for a (sometime) power trio that features two brothers named Seabrook, guitarist-banjoist Brandon and drummer Jared (bassist Tom Blancarte is the third member), but one's sense of the band changes with the knowledge that there's a controversial nuclear power station in Seabrook, New Hampshire that bears the same ...
Jon Irabagon with Mike Pride: I Don't Hear Nothin' But the Blues
by Eyal Hareuveni
Sometimes you don't need more than a sax and a drum set. Tenor saxophonist Jon Irabagon--winner of the 2008 Thelonious Monk Saxophone Competition and a potent and articulate front man of the post-modern be-bop quartet Mostly Others Do The Killing--and versatile drummer Mike Pride--a collaborator of Anthony Braxton and punk outfits such as Millions of Dead ...
Jon Irabagon and Mike Pride: I Don't Hear Nothin' but the Blues
by Kurt Gottschalk
I Don't Hear Nothin' But The Blues is a hilariously apt title for the new CD by saxophonist Jon Irabagon and drummer Mike Pride. The phrase--and the cover art, featuring both as well-dressed train-hoppers--would suggest a certain something to most listeners, maybe a tribute to Louisiana Red or Memphis Slim or Mississippi John Hurt. And while ...
Seabrook Power Plant: Seabrook Powerplant
by Troy Collins
Seabrook Powerplant is the long awaited debut of Brandon Seabrook as an ensemble leader, one of the most impressive young guitarists to arise from the verdant Brooklyn scene. Despite his relatively limited discography, the New England Conservatory graduate has been active since the mid-1990s, as a member of Radical Jewish Culture pioneers Naftule's Dream, the eclectic ...
Jon Irabagon with Mike Pride: I Don't Hear Nothin' But The Blues
by Mark Corroto
Without playing “name that tune," it is easy to mistake Jon Irabagon and Mike Pride's one song, 48-minute recording for one by Bill Laswell's Massacre. Same energy, same intensity, and volume, lots of volume. Funny, because this is an acoustic duo between saxophone and drums, while Massacre is a trio of drummer Charles Hayward, ...
Jon Irabagon with Mike Pride: I Don't Hear Nothin' But The Blues
by Troy Collins
The saxophone and drum duo has long been an established jazz tradition, with Interstellar Space (Impulse!, 1965), John Coltrane's legendary duet album with Rashied Ali, widely considered the format's archetype. Containing a single 47-and-a-half minute improvisation, I Don't Hear Nothin' But The Blues is tenor saxophonist Jon Irabagon and drummer Mike Pride's bold contribution to the ...
Opsvik & Jennings: A Dream I Used To Remember
by Mark F. Turner
The inventive duo of Opsvik and Jennings continue to adhere to the adage of “have imagination, will travel." Like architects in sound, melody, and composition, multi-instrumentalists Eivind Opsvik from Oslo, Norway and Aaron Jennings, from Tulsa Oklahoma, artfully blend technology (electronics, software) and acoustic instruments (including bass, drums, banjo, guitar) to create unique constructs that are ...
Opsvik & Jennings: A Dream I Used To Remember
by Troy Collins
With each succeeding album more impressive than the last, the chamber-pop duo Opsvik & Jennings have released their finest record to date with A Dream I Used To Remember. The third release from Norwegian bassist Eivind Opsvik and Oklahoma-born guitarist Aaron Jennings follows Floyel Files (NCM East, 2005) and Commuter Anthems (Rune Grammofon, 2007). Although their ...
Rich Johnson: Up the Turret Mil
by Nic Jones
Trumpeter Rich Johnson might be said to be engaging with the present; in a way, that's true of so few of his contemporaries. He produces music that's steeped in the culture of sampling, and similar examples of magpie-like curiosity. At the same time, he fashions music that is as striking as anything out there. This is ...
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