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Results for "Paul Bley"
Bobo Stenson Trio: War Orphans
by Dan McClenaghan
Manfred Eicher started ECM Records in 1969. Fifty years later, in 2019, with over 1500 releases to its name, the label continues to offer up compelling and unclassifiable music. And since the catalog is deep, and early-in-the-effort recordings have become harder to find, ECM periodically re-releases some of these gems, tagging them Touchstones. Early ...
Joachim Kuhn: Melodic Ornette Coleman: Piano Works XIII
by Karl Ackermann
Reportedly, Ornette Coleman did not have a great affinity for pianists, but it was the instrument--rather than the musicians--that put Coleman off. As an innovator in free jazz, Coleman found the chordal instrument too intrusive and preferred a more sympathetic bass/soloist interaction. Coleman did record with pianists Geri Allen and Paul Bley, but he established a ...
Zlatko Kaućić: Diversity
by Mark Corroto
This 5-CD box Diversity was produced to honor Slovenian percussionist Zlatko Kaučič's 40 years in music. It is many things, but what it is not, is a career retrospective. How could it be? For quite awhile the drummer was a nomad, moving to Barcelona in 1976, then Amsterdam where he absorbed the new Dutch swing. His ...
Dave Ballou: The Windup
by Giuseppe Segala
Impegnato sia sul versante del jazz che della musica classica e barocca, Dave Ballou sfoggia un timbro pulito e cristallino, un fraseggio impeccabile. Nell'ambito afroamericano il suo lavoro ha spostato volentieri le proprie coordinate, passando dal moderno mainstream allo scandaglio dell'improvvisazione libera e della composizione aperta. Nel periodo a cavallo tra i nostri due secoli, Ballou ...
Iro Haarla, Ulf Krokfors & Barry Altschul: Around Again: The Music Of Carla Bley
by Dan McClenaghan
At one time the Finnish pianist/harpist/composer Iro Haarla was best known as a collaborator of drummer Edward Vesala (1945-1999). Her own career blossomed in the new millennium, beginning with Penguin Beguine (TUM Records, 2005) followed by multiple releases on ECM and TUM Records, including Northbound (ECM, 2006), Vespers (ECM, 2011), Kirkastus (TUM, 2014), a daring duo ...
Kresten Osgood Quintet: Kresten Osgood Quintet Plays Jazz
by Dan McClenaghan
One way of getting a handle on a jazz artist's style is a perusal of their “played with," “recorded with" resume. Danish drummer Kresten Osgood has collaborated in the recording studio with the likes of pianists Paul Bley and Masabumi Kikuchi, bassist Mark Dresser and saxophonist Sam Rivers--free-flying iconoclasts all. The drummer/bandleader lives up to that ...
Shai Maestro Trio At BIMHUIS Amsterdam
by BIMHUIS
Shai Maestro began playing classical piano at the age of five an,d after discovering Oscar Peterson at the age of eight, he fell in love with jazz. After turning down offers from prestigious American music schools, at 19 he joined the band led by bassist Avishai Cohen featuring Mark Guiliana on drums. With that trio he ...
Kresten Osgood Quintet: Kresten Osgood Quintet Plays Jazz
by Mark Corroto
Danish drummer Kresten Osgood achieves the musical equivalent of pay-it-forward with Kresten Osgood Quintet Plays Jazz. His ensemble of up-and-coming Copenhagen musicians delivers convincing renditions of some archetypal compositions, plus three originals by the leader. The choice of music on these two discs exposes the quintet to many types of possible criticism. Listeners familiar ...
Satoko Fujii: The Kanreki Project
by Franz A. Matzner
Over four decades of experimentation, Satoko Fujii has made a lasting mark on the contours of modern jazz. The wave after wave of expressive force she has unleashed emanate from the aesthetics of her home country, but are never bound exclusively to it. They form a distinctive sound belonging only to her, yet comprised of wide-ranging ...
Big in Japan, Part 3: Satoko Fujii’s Year of Living Dangerously
by Karl Ackermann
In the first two parts of this series we looked at the origins of jazz in Japan and its adherence to the American style of composing, arranging and playing. Though jazz has been popular in Japan from the earliest days, it was--as in the United States--hardly met with unanimous approval in a country that prized classical ...
