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Nobu Stowe: An die Musik
by Lyn Horton
No decisions about a recording should ever be made based on the first few sounds that are heard. Even though An die Musik from Japanese pianist Nobu Stowe begins with a restfully melodic and dramatic three-minute piano and drum duet, it moves quickly and assuredly into a vibrant and emotive rhythmic set of improvisations. These possess ...
Fieldwork: Door
by Lyn Horton
The selection of which avenue to follow in music is the whole ball game to sustain the integrity of a particular venture. On Fieldwork's Door, the measure of the music's success has to do with the recognition that it centers within a specific tonal range. The alto sax, played by Steve Lehman, establishes that range. There ...
Klez-Edge: Ancestors, Mindreles, NaGila Monsters
by Lyn Horton
Although rewards can come from listening to a recording where mixing styles is done through patching different samples together, the music on Ancestors, Mindreles, NaGila Monsters radiates out of the mindful integration of several identifiable musical idioms within the same performance spectrum. A child of pianist Burton Greene's 1989 band Klezmokum, the group Klez-Edge does more ...
Right Hemisphere: Right Hemisphere
by Lyn Horton
Brotherhood implies common ground whether or not it is within a context of family, ethnic heritage, belief system or creative activity. An automatic unity, not requiring invention, binds the network. An agreement exists, not requiring a contract, to make it mutual. The language is the same though the perspectives might be different from group to group, ...
Eri Yamamoto: Duologue
by Lyn Horton
Historically in jazz, pianos have been oriented towards group ensembles. The prevalence of modern jazz and improvised music has not altered these configurations, but the musicians have challenged the instrumental relationships within. To extend their voice, pianists need to use their creative insight to embrace the appropriate instrumental combinations in order to shape the sound that ...
Vijay Iyer: Tragicomic
by Lyn Horton
Expressing everything that is possible at one point in time is how art comes about. For visual artists, the limitations of the chosen medium frame and freeze the passion of the art. For musicians, the parameters comply with a different set of conditions. Music is concerned with time and the kinds of changes that occur within ...
Joe McPhee and Friends: Directed Improvisation at RUCMA, New York City
by Lyn Horton
Joe McPhee and Musicians RUCMA at the Living Theater New York City May 11, 2008 Although conducting and improvisation seem to be unlikely partners, nothing is more compelling than witnessing improvisation unfold during the process of conducting. To see a musician direct the music without necessarily playing an ...
Matthew Shipp: Un Piano
by Lyn Horton
Vision does not come all at once. It builds over time and through experience. A component of vision is awareness, for if experience cannot be witnessed and objectified, then awareness might evade consciousness. How to break convention and move into directions that are untapped requires self-confidence and self-trust. Vision and creativity are inseparable, dynamic partners. On ...
Ornette Coleman: Ornette Coleman Town Hall, 1962
by Lyn Horton
Ornette Coleman's theory of harmolodics set a standard for improvised music that is unrivaled. Coleman closed the synaptic gap between the conception and implementation of the musical idea so that spawning the music became a conjugation of the harmonic relationships that live within it. The ESP-Disk re-release of Ornette Coleman Town Hall, 1962 brings the music ...
Logos and Language: A Post-Jazz Metaphorical Dialogue
by Lyn Horton
Logos and Language: A Post-Jazz Metaphorical Dialogue Steve Dalachinsky and Matthew Shipp Softcover; 97 pages ISBN: 978-2-9531508-0-3 2008Getting to the bottom of things requires stamina and focus. The medium for this process is crucial in distilling the essence of the pursuit, and when it comes to ...
