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Chris Pitsiokos / Javier Areal Velez / Kevin Murray: First Blush
by Mark Corroto
Was this gig at New York's Downtown Music Gallery in January, 2020, a one-off performance? Saxophonist Chris Pitsiokos was scheduled to perform solo, probably to promote his extraordinary solo release Speak In Tongues (Relative Pitch, 2019), but chose instead to expand to a trio. And a new trio at that. This wasn't one of his recent ...
Ballister: Znachki Stilyag
by John Sharpe
Although the title, composed of two unrelated Russian words chosen because they sounded good, doesn't have a meaning, the contents not only sound good but carry rather more weight. The high intensity free jazz trio Ballister comprises reedman Dave Rempis, cellist Fred Lonberg-Holm and drummer Paal Nilssen-Love, three of the finest proponents on their instruments in ...
Heavy Rotation For A Pandemic Summer
by Mark Corroto
In the summer of 2020 one result of the COVID-19 isolation, and artists inability to tour and perform is that they have time to deal with projects halted by this pandemic. Musicians, producers, and engineers have mixed, mastered and released an abundance of music. Many of the titles have been, and will be covered by our ...
A tribute to Eddie Gale plus a mix of old and new releases
by Bob Osborne
On this show a tribute to trumpeter, Sun Ra alum, and musical educator Eddie Gale who recently passed away. Also featured, the second album in the Catalytic Artist Album fundraising series from the Erotic Winds trio Joe McPhee with Joe Giardullo and John Howard. As well as some other new releases and archive cuts there is ...
Peter Brötzmann & Fred Lonberg-Holm: Memories of a Tunicate
by Mark Corroto
Peter Brötzmann in a duo format brings out the best of Peter Brötzmann. Yes, but maybe of greater import, the duo also ennobles his improvising partner. Not that cellist Fred Lonberg-Holm needs the accolades. He has been front-and-center of the creative music scene for more than three decades, collaborating with the likes of Joe McPhee, Ken ...
A tribute to Tony Allen plus some new releases
by Bob Osborne
This week a tribute to the great Nigeria drummer, percussionist and songwriter Tony Allen. One of the main collaborators, and musical director, of Fela Kuti's band Africa '70 from 1968 to 1979, he was a central figure in Afrobeat music. In later years he embraced a variety of musical styles, developed “Afrofunk" and worked with a ...
Viktor Skokic Sextett: Basement Music
by Mark Corroto
Basement Music, the title of bassist Viktor Skokic's premiere as a band leader, refers not to the social isolation of the 2020 global pandemic, but to the sites of his compositional efforts. Written in his basement, and recorded prior to the lockdown, the music is actually the converse of social distancing—'converse' as in conversation. His 'Sextett' ...
Moers Festival Interviews: Paal Nilssen-Love
by Martin Longley
The Norwegian drummer Paal Nilssen-Love was set to bring his Large Unit to the long-established Moers Festival on Saturday 30th May. Tim Isfort, the artistic director of this German weekender, has just presented a press conference on the morning of 22nd April, revealing the now-transformed aspect of the event. To quote the Moers Festival's handy 2020 ...
Results for pages tagged "Paal Nilssen-Love"...
Paal Nilssen-Love
Born:
Paal was born in Molde, Norway, December 24. 1974, and raised at a jazz club in Stavanger, run by his parents. It was natural to choose his fathers drums as his instrument and jazz as his work. From 1990 on he took actively part in the jazz milieu in Stavanger and joined bands with established musicians such as trumpeter Didrik Ingvaldsen and saxophonist Frode Gjerstad. In many ways, these collaborations were essential as they pointed out the directions for Paal's later musical development and career. During his studies at the Jazz dept at the University in Trondheim, where the first self initiated bands were established, things developed really fast--and Paal was nationally acknowledged at the age of 20. The forming of the quartet Element in 1993 in many ways represented the start of a new phase in Paal's musical life
