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Your Shipp Has Come In
by Mark Corroto
These two guest appearances demonstrate that pianist Matthew Shipp has become an elder statesman in the jazz world. How that happened can be boiled down to two simple elements. One: he has created a unique sound and language for improvised music and two: Shipp has become a doyen of cutting edge music making and opinion.
Peter Brotzmann/Sonny Sharrock: WHATTHEFUCKDOYOUWANT
by Mark Corroto
Gone, now more than twenty years ago, guitarist Sonny Sharrock passing in 1994 seems like just yesterday. Maybe it is because his inexhaustible larger-than-life sound still permeates the music of today's free jazz community. This recording, from 1987 is a hidden gem and treasured fragment, perhaps another Rosetta Stone that allows listeners to appreciate how the ...
KonstruKt with Marshall Allen: Live At Sant’anna Aressi Jazz Festival
by Mark Corroto
I have seen the future of free jazz (to paraphrase rock critic Jon Landau) and it's name is KonstruKt. Born in Turkey, but cross-fertilized by a global phenomenon of visiting jazz bees: Peter Brotzmann, Joe McPhee, Evan Parker, and Marshall Allen who perform and pollinate the flowering creative music scene. This quartet of saxophonist ...
Bobby Selvaggio: Short Stories
by Mark Corroto
Like the Japanese calligraphy art know as ensō, the condensed and succinct introduction alto saxophonist Bobby Selvaggio delivers on the track “Price Of Being (Intro)" is a disciplined stroke, delivered with an ease and elegance that belies the character and control required for such a statement. He works his instrument through this exercise with such command ...
Agustí Fernández/Barry Guy/Ramón López: A Moment's Liberty
by Mark Corroto
The term “elegance," is rarely utilized when referring to a jazz recording. In fact, “elegant jass"might be an oxymoronic term. Sure, The Modern Jazz Quartet always performed in formal wear, and Duke Ellington evoked gracefulness in response to his advertised “jungle music," but jazz has always bumped up against the high brow ceiling of more orthodox ...
Alan Wilkinson/Steve Noble/John Coxon/Pat Thomas: The Founder Effect I
by Mark Corroto
You cannot judge a book by its cover. Maybe, but music fans somehow know that expression doesn't lend itself to album covers (in this case, CD covers). Look at the Blue Note Records covers from the 1960 sixties, Miles Davis' On The Corner (Columbia, 1972), or The Clash's London Calling (Columbia, 1979), and tell me you ...
Rodrigo Amado: Wire Quartet
by Mark Corroto
It is possible that Portuguese saxophonist Rodrigo Amado's earlier releases caught your attention because of the names of his playing partners. Chicago trombonist Jeb Bishop recorded two discs with Amado's Motion Trio, The Flame Alphabet (Not Two, 2012) and Burning Live At Jazz AO Centro (JACC Records, 2012). There was also Searching For Adam (Not Two, ...
Peter Van Huffel/Michael Bates/Jeff Davis: Boom Crane
by Mark Corroto
Pity the neighbors of the jazz trio Boom Crane. It's not that their garage band approach to music making is off-putting or offensive, it's that the ferocity of their approach is just so demanding. Saxophonist Peter Van Huffel's New York trio of Michael Bates (bass) and Jeff Davis (drums) release this, their inaugural recording, as a ...
Sara Serpa & André Matos: Primavera
by Mark Corroto
A little bit of magic is evident in the recording Primavera by the Portuguese-born-now-New Yorkers Sara Serpa and André Matos. Not magic as in sleight of hand or illusion, but magical as in enchanting and, indeed, spellbinding. The musical pair, also wife and husband, created this duo recording with the help of some of their own ...
Mario Pavone: Street Songs
by Mark Corroto
Listing an accordion in a jazz sextet's lineup evokes either thoughts of avant-garde leanings or maybe kitschy hipsterism. Not so for bassist Mario Pavone. Street Songs includes Adam Matlock's bellows-driven squeezebox, not as a gimcrack ornament, but a link to the immigrant working class neighborhood music of Pavone's post-WW II youth. The musician's history ...
