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Piccola guida al nuovo jazz italiano
by Luca Canini
Non è vero che il jazz italiano sta bene. Non è vero che siamo il paese dei festival e che abbiamo musicisti che tutto il mondo ci invidia. Possiamo raccontarcela tra di noi, se vi va. Facendo finta che questo sia il migliore dei mondi possibili e che il sole dell'avvenire splenda alto sopra l'orizzonte, ma ...
Luís Lopes/Jean-Luc Guionnet: Live At Culturgest
by Mark Corroto
All great art invokes the imagination. Think of your favorite movie and the two hours of viewing that transported you into a different world. Music can accomplish the same ends. Take this live date at Culturgest in Lisbon. The meeting between Portuguese guitarist Luís Lopes and French saxophonist Jean-Luc Guionnet creates that same cathartic response.
Rodrigo Amado: This Is Our Language
by John Sharpe
The title of Portuguese saxophonist Rodrigo Amado's latest offering pays unmistakable homage to the late Ornette Coleman. This Is Our Music (Atlantic, 1961) constituted one of Ornette's uncompromising early manifestos, while In All Languages (Caravan of Dreams, 1987) served to reveal both the differences and the similarities between his classic quartet and the electric Prime Time ...
John Dikeman/William Parker/Hamid Drake: Live at La Resistenza
by Mark Corroto
The subtitle to Charles Mingus' composition “Gunslinging Bird" is “If Charlie Parker was a gunslinger, there'd be a whole lot of dead copycats," refers to the great alto saxophonist's ability to dominate a bandstand and quiet any and all comers. Parker, who died in 1955, might not have known about automatic weapons, nor the free jazz ...
Ballister: Dave Rempis, Fred Lonberg-Holm, Paal Nilssen-Love: Worse for the Wear
by Angelo Leonardi
Cinque dischi in cinque anni non sono male per un trio dalla spiccata identità free, con innesti rumoristico/elettronici. Nato nel 2011, Ballister è formato dal sassofonista Dave Rempis, dal violocellista Fred Lonberg-Holm e dal batterista norvegese Paal Nilssen-Love, tutti partner -a vario titolo -di Ken Vandermark e dei massimi strumentisti radicali che fanno base ...
Maciej Lewenstein: Quantum Mechanics of Polish Jazz
by Cezary L. Lerski
Maciej Lewenstein was born in 1955 in Warsaw. He is a theoretical physicist and currently an ICREA professor at Institut de Ciències Fotòniques (ICFO) in Castelldefels near Barcelona, Spain. He has written more than 500 scientific papers and is the recipient of many international and national prizes. Next to theoretical physics his other passion is music ...
Rodrigo Amado: This Is Our Language
by Mark Corroto
It was only a matter of time before this session was to be. Portuguese tenor saxophonist Rodrigo Amado had, for years, been gaining the attention of American players, and recording his Motion Trio with guests such as Peter Evans and Jeb Bishop. When he conceived of this quartet, it was hand-in-the-glove fit. The title, ...
Peter Brotzmann, John Edwards, Steve Noble: Soulfood Available
by Stefano Merighi
Se è vero che l'improvvisazione radicale non è immune dai clichè che vorrebbe oltrepassare, difficile trovare in fallo Peter Brötzmann in questo contesto. La sua inesausta avventura sonora si rafforza sera dopo sera in concerti spesi senza risparmio, con un'incoscienza psicofisica che garantisce sincerità artistica e spesso vette espressive sublimi. Qui siamo a ...
Agusti Fernandez / Zlatko Kaučič: Sonic Party
by John Sharpe
Sonic Party documents a live meeting between Catalan pianist Agusti Fernandez and Slovenian percussionist Zlatko Kaucic. Unlike similar encounters with his countryman Ramon Lopez, all the selections here are generated on the fly. Such pairings accentuate the percussive nature of the piano, and all the more so because Fernandez is one of the greatest proponents of ...
Chicago Reed Quartet: Western Automatic
by John Sharpe
After a heyday in the late 1970s which saw the World Saxophone Quartet, ROVA and the 29th Street Saxophone Quartet, to list but three of the more celebrated, strutting their stuff, the format has undergone a hiatus more recently. However it remains firmly established as an instrumental configuration and perhaps the only surprise is that it ...
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