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Tchicai - Kohlhase - Fewell - McBee - Hart: Tribal Ghost
by Glenn Astarita
Late saxophonist John Tchicai's roots and influences emanated with the 1960s innovative free-jazz ensemble, The New York Art Quartet. He became a significant global artist in all things considered to be cutting-edge within the ever-expansive jazz vernacular. This 2007 concert, recorded at the New York City venue Birdland, features compositions by guitarist Garrison Fewell and one ...
Steven Lugerner: For We Have Heard
by John Sharpe
In something of a departure for the Lithuanian No Business label, young San Francisco-born, NYC-based reedman Steven Lugerner presents a LP of his thoughtfully arranged charts. To breathe life into the notation, Lugerner has assembled a talented crew, which he carefully deploys in varying combinations across the ten cuts. Not only that but he also overdubs ...
Adam Lane Trio: Absolute Horizon
by Glenn Astarita
Adam Lane is among the best and brightest of the new wave of forward- looking jazz and improvising bassists, who along with his formidable cohorts exploit the trio format. Here, every inflection, tonality and nuance becomes prominently embedded into the group's stylization which is based on instant composition. No doubt, the musicians' astonishing synergy is a ...
Mats Gustafsson: Shift
by John Sharpe
Having co-opted reed iconoclast Mats Gustafsson to pen the enthusiastic liners for their prosaically-named Two Nights in April (Ayler Records, 2010), young Swedish trio Correction goes one better on Shift by persuading their countryman to actually participate in the session. Over its five year existence, the threesome of pianist Sebastian Bergström, bassist Joacim Nyberg and drummer ...
Vandeweyer / Van Hove / Lovens / Blume: Quat Live At Hasselt
by Glenn Astarita
This live sound recorded at a Belgian venue vividly transfers to disc, augmenting the dual percussionist-backed quartet's investigative mechanics amid crashing cadenzas, moments of quietude, and multilayered formulations. Featuring eminent Belgian pianist Fred Van Hove and vibraphonist Els Vandeweyer on the front end, the improvisational format yields a democratic approach as the musicians generally operate from ...
Vandeweyer / Van Hove / Lovens / Blume: Quat Live At Hasselt
by John Sharpe
In one sense the cover of Quat Live At Hasselt could act as a metaphor for what lies within, due to its focus on a narrow spectral range. At first glance the black appears uniform, punctuated only by the white text. But on further scrutiny, an intricately patterned network of various shades of grey becomes apparent, ...
Melodic Art-Tet: Melodic Art-Tet
by John Sharpe
Once again the Lithuanian No Business label has unearthed a little known relic from the lower strata of NYC's loft jazz era. Like The Group's Live (No Business, 2013), the previous beneficiary of the imprint's ongoing investigation, the Melodic Art-Tet never officially recorded so this 1974 broadcast tape from WKCR represents the only surviving fragment of ...
Steven Lugerner: For We Have Heard
by Glenn Astarita
Multi-woodwind expert Steve Lugerner's solo outing for this Lithuania-based progressive/avant-jazz record label enters the market as a limited edition of only 500 LPs. Get them while they last, as some would say. And it's a very distinctive performance, duly capturing the earthy attributes of this all-star lineup's contrasting song forms and extraordinary synergy, clocking in at ...
Convergence Quartet: Slow And Steady
by John Sharpe
It might just be that the third record from the Transatlantic Convergence Quartet is its best yet. Recorded live at north London's Vortex at the conclusion of a short British tour, the band was firing on all cylinders. Not that its previous two outings were in any way remiss. Live In Oxford (FMR, 2007) documented a ...
Evan Parker/Barry Guy/ Paul Lytton: Live At Maya Recordings Festival
by John Sharpe
After twenty one recordings there may not be too much more to say about the superlative English threesome of saxophonist Evan Parker, bassist Barry Guy and drummer Paul Lytton. Some 30 years on since their debut Tracks (Incus, 1983), they converse in a language entirely of their own making, which relies on a staggering density of ...
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