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Weasel Walter / Mary Halvorson / Peter Evans: Electric Fruit
by Clifford Allen
Weasel Walter / Mary Halvorson / Peter EvansElectric FruitThirsty Ear2011 Percussionist and improviser Weasel Walter often uses the term “face rip" to describe a particularly intense musical experience. In improvised music, you often don't get a “blood and guts" approach; free jazz, in many instances, has been ...
Paul Hubweber & Philip Zoubek: Archiduc Concert: Dansaert Variatiions
by John Eyles
Trombonist Paul Hubweber has previously impressed in the trio PaPaJo, which he shares with bassist John Edwards and percussionist Paul Lovens, rightfully being compared with the late, great Paul Rutherford. Despite such comparisons, he draws from many sources. When practicing, he plays many Albert Mangelsdorff tunes, alongside Charlie Parker standards and J. S. Bach pieces.
Fifty-Fifty: Fragments
by Nic Jones
Entering the territory mapped by reeds/drums duos is a surprisingly risky undertaking, given the precedents: John Coltrane with Rashied Ali, Evan Parker with Paul Lovens, and the line-up of AMM that featured percussionist Eddie Prévost keeping the company of tenor saxophonist Lou Gare. For all its undoubted merits, the German duo Fifty-Fifty maybe just isn't ready ...
Tatsuya Nakatani: Essences and Abiogenesis
by Clifford Allen
What is improvised music without visuality? While the music of improvising composers can be felt and picked apart aurally, the physical act of making music in an un- preconceived setting is something rather extraordinary and easily lost through the audible distance of a recording. It's not just the dynamic, theatrical high jinks of a player like ...
Une, Deux, Trois: Solo, Duo and Trio Improvisation from Europe
by Clifford Allen
At one point in time, the term “European Improvisation" meant something quite specific, carrying with it an air of otherness to American jazz audiences, solidarity to European jazz audiences, and presented rarified and sometimes unruly music based on folk, classical and open forms. In the ensuing decades, the world has grown a bit smaller, and intercontinental ...
Schlippenbach Trio: Bauhaus Dessau
by Nic Jones
The Schlippenbach Trio is now decades old; perhaps it's not surprising there are only a few improvised music groups that have lasted that long. In this trio's case the matter of pedigree goes without saying, but whether or not the depth of their familiarity with each others' work makes for sterile, unrewarding music, is a question ...
Eric Boeren 4tet: Song For Tracy The Turtle
by Mark Corroto
When Eric Boeren's 4tet isn't playing the music of Ornette Coleman, they are playing the music of Ornette Coleman. That is to say, with a Dutch swing. The leader and cornetist began playing covers in the early 1990s, releasing several quartet recordings of Coleman's music with Cross Breeding (BVHaast, 1997), Joy Of A Toy ...
Dave Liebman / Evan Parker / Tony Bianco: Relevance
by Nic Jones
This release documents the first time that saxophonists Dave Liebman and Evan Parker have worked together and given their respective lengths of service to the music, this is remarkable. What is less so, is the fact that they so readily found a common language given their respective takes on the aesthetic of John Coltrane. Of the ...
Greg Kelley: Flesh to Metal
by Gordon Marshall
Boston trumpeter Greg Kelley takes an atom and constructs a world out of it. Taking his cue from the metallic tubes of his instrument and how they are connected to his mouth, and ultimately his body, his sounds are never wholly disembodied but rather maintain the precise quality of that apparatus that, in his hands, is ...
Skinny Vinny: The Answer to Everything
by Gordon Marshall
Andrew Eisenberg is the percussionist for the Boston, Mass. duo Skinny Vinny--and a conceptual mastermind. Equally adept with hammer, saw, trash can, pots and pans, or what have you, he can make you think, or muse, by knocking together a table, or banging a stick against a window. An early piece, a big white room with ...
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