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Janet Feder & Fred Frith: Ironic Universe
by Nic Jones
On the basis of this evidence, Janet Feder is as concerned with the intrinsic qualities of the acoustic guitar as an instrument as she is with technique, correct or otherwise--and this is borne out by the fact that she chose to perform duets with Fred Frith, whose journey of sonic exploration has been going on for ...
Milt Jackson: Da Capo
by Nic Jones
Milt Jackson was to the vibraphone what Bud Powell was to the piano, in terms of how he disseminated the expansive harmonic vocabulary of bebop. This set, featuring both his early small group work and a fledgling Modern Jazz Quartet, indicates just how expansive his music was in the first decades of his career. “Baggy Eyes" ...
Matthias Schubert Quartet: Trappola
by Nic Jones
I must admit to ignorance of Matthias Schubert's work prior to hearing this disc, and the only point of reference that springs to mind is the fact that he's in the band on Graham Collier's Hoarded Dreams, recorded in 1983 and recently put out on Cuneiform. Ignorance can often be lifted by revelation, and that's certainly ...
Roy Budd: Blue Budd
by Nic Jones
If Roy Budd has any kind of reputation at all outside of British shores, it could well be down to the fact that he provided the soundtrack for the seminal British gangster movie Get Carter. At the time he was the pianist/leader in a trio with bassist Jeff Clyne and drummer Chris Karan; the latter appears ...
The Vandermark 5: A Discontinuous Line
by Nic Jones
Ken Vandermark could never be accused of wasting time, and while this particular documentation of his music lacks the rarefied air of his work with the SIA trio from earlier in 2006, this programme comes from an aesthetically different place. Vandermark's artistry is far from mono-dimensional. Also, the dynamics of the V5 are of a radically ...
Christian Weber: 3 Suits & A Violin
by Nic Jones
In his accompanying notes for 3 Suits & A Violin, Dean M. Roberts quite rightly refers to the fact that this music eschews formulaic approaches. It's equally true to say that another of its key elements is the sublimation of individual instrumental identity. For example Hans Koch's saxophones are at one and the same time not ...
John Hicks: Sweet Love Of Mine
by Nic Jones
This polite set effectively closes the recording chapter of the late pianist John Hicks' life--and on an equally fundamental level, it might leave listeners ruing the fact that a lot of the music is simply made somewhat anonymous by the presence of too many musicians. The opening “One Peaceful Moment" is given a wistfully melancholic reading, ...
Salim Washington Harlem Arts Ensemble: Harlem Homecoming
by Nic Jones
Harlem Homecoming is a celebration of what this music ought to be all about. It's also some kind of antidote to all the technically proficient but ultimately clinical modern mainstream stuff, and its uninhibited joyfulness brings a smile to the face and a fire to the heart. For evidence of this, look no further than the ...
Sonic Liberation Front: Change Over Time
by Nic Jones
There are a lot of elements to this music--too many, in fact--and they gel only intermittently. Percussion workouts, vocals, the overt use of Pan-African music, and horn solos all vie for attention, but after a few listens, many of them just seem to fade into the background. The programme starts well enough with “The Next Thing ...
Iskra 1903: Chapter Two: 1981-3
by Nic Jones
Some titles are more apt than others. Iskra 1903 has spanned the decades as a working group, and this edition was recorded at gigs back in the early 1980s. Dates, however, seem irrelevant, as this music is essentially unbounded by the constraints of both time and place. The titular Chapter Two refers practically to the revision ...
