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Don Cherry: Symphony for Improvisors
by Ty Cumbie
It is gratifying to read A.B. Spelling's original liner notes for Don Cherry's 1966 recording Symphony for Improvisers, the first sentence of which begins “The New Music is no longer new and goes on to point out the developments over the preceding ten years. Free jazz is still a powerful draw for musicians and still inspires ...
Nate Wooley: Wrong Shape to be a Story Teller: Blue Collar; Lovely Hazel
by Ty Cumbie
Trumpeter Jeremy Pelt has, in these very pages, called into question the legitimacy of jazz criticism, suggesting this line of work is merely an excercise in egocentric exhibitionism and control freakishness. Well, he may have a point, but not every jazz critic is charged with the formidable task of absorbing and attempting to come up with ...
Keith Jarrett: The Art of Improvisation
by Ty Cumbie
Keith JarrettKeith Jarrett: The Art of ImprovisationEuroarts 20541182005 When Keith Jarrett is “in the zone his face takes on an expression of sublime agony reminiscent of a woman in the throes of childbirth. Creating music live for him is an act of profound, physical intensity: his entire body is tense ...
Ursel Schlicht/Bruce Arnold: String Theory
by Ty Cumbie
Of the thousands of improvising musicians in New York, there are untold legions of gifted players who have scarcely been recognized. Ursel Schlicht should be counted among them. Her relative obscurity is partly self-imposed, as she seems uninterested in plopping herself comfortingly in a single marketable style, but the “industry and its attendant (or co-dependent?) slothful ...
Anthony Braxton: Charlie Parker Project & Shadow Company
by Ty Cumbie
Bespectacled, tweedy, bristling with intelligence, one could easily mistake him for a professor from some obscure, brainy university (which would be correct), of science or mathematics or philosophy (actually music, though he has an impressive command of those other fields). Anthony Braxton, the musician, is renowned primarily for three traits: fearless experimentation, mountainous technique and a ...
Mostly Others Do the Killing: Mostly Others Do the Killing
by Ty Cumbie
Moppa Elliott is a young bassist who leads a young, talented band. As such, the music--both written and improvised parts--is misleadingly mature. Whether it's strong training and influences or just plain old giftedness I can't say, but it's heartening to see such talent continue to flow into jazz, despite the great old form's ongoing brush with ...
John Hagen: Segments
by Ty Cumbie
Segments begins well. John Hagen's tenor tone is rich and strong, his phrasing warm and soulful. Shanir Blumenkranz strums droning clusters of bass notes over drummer Todd Capp's free pulse. The piece rumbles and rolls along for ten pleasant minutes before gliding to a gentle finish. Track two introduces the second of several band configurations featured ...
Who Trio: The Current Underneath
by Ty Cumbie
This new Who Trio (Michel Wintsch, Gerry Hemingway, Banz Oester) recording is a pastiche of improvised and written, live and studio pieces. As a free improviser, pianist Wintsch often opts for moody, drifting chords, melody percolating out of a gently boiling ground--too edgy to be New Age, not happy enough to be smooth jazz. His compositions ...
Blue Collar: _ is an Apparition
by Ty Cumbie
Blue Collar's oddly titled debut recording is a demonstration of how to avoid the ordinary. The musicians, all virtuosos, eschew every convention of music here, opting for displays of “extended technique"? or inspired noisemaking. Not until track five do the excellent brass players deign to play actual notes. They do grunt, huff, puff, squeal and produce ...
Enrico Pieranunzi/Paul Motian: Doorways
by Ty Cumbie
Not long ago I heard the excellent pianist Russ Lossing's fine recording As It Grows with Paul Motian on drums. Now comes another excellent, very different pianist, Enrico Pieranunzi, also with Motian and a new record that recalls the glory of Jarrett's time on ECM. Doorways covers wide territory, both charted and uncharted. Pieranunzi ...
