If you're familiar with All About Jazz, you know that we've dedicated over two decades to supporting jazz as an art form, and more importantly, the creative musicians who make it. Our enduring commitment has made All About Jazz one of the most culturally important websites of its kind in the world reaching hundreds of thousands of readers every month. However, to expand our offerings and develop new means to foster jazz discovery we need your help.
You can become a sustaining member for a modest $20 and in return, we'll immediately hide those pesky Google ads PLUS deliver exclusive content and provide access to future articles for a full year! This combination will not only improve your AAJ experience, it will allow us to continue to rigorously build on the great work we first started in 1995. Read on to view our project ideas...
Magda Mayas (Germany) performs on a 1970s manufactured clavinet with reedman Jim Denley (Australia), augmented by their use of field recordings, as they pay homage to a "marginalized corner" of Sydney, Australia on this experimental and irrefutably adventurous improv fest. Yet I wouldn't be so bold to suggest that this is easy listening but for the most part, it's relatively subdued.
The duo projects organic minimalism amid the sounds of nature and bizarre tone poems that move forward in asymmetrical fashion. At times Mayas seems to be tinkering with the innards of her clavinet as Denley counterbalances and tints many of these fragmented motifs with otherworldly sounds, where the trajectories are either solemn, nervy, peaceful or droning. The field recordings are melded somewhere in between or in the background and not always easy to detect. Hence, the musicians execute a musical jigsaw puzzle of sorts but are apt to lull you into a groove.
It's largely a polytonal endeavor as the duo's creative forces impart a strange but captivating vernacular or dichotomy. On the final track "Arrival," the artists' hissing and plucking sounds emit a sense of isolation, peppered by Mayas' dainty clavinet voicings and Denley's whirling bass flute lines along with various noise shaping activities that allude to a series of tribal thematic expositions. Nonetheless, it's a rather challenging program. Coupled with the detailed audio experience, Tempe Jetz tenders additional surprises on successive listens.
Track Listing: A Departure; Customs Declaration; In Transit; Arrival.
Personnel: Magda Mayas: clavinet, field recordings; Jim Denley: alto saxophone, bass flute,
Title: Tempe Jetz
| Year Released: 2017
| Record Label: Relative Pitch Records
I love Jazz because of its freedom.
I was first exposed to jazz in my teenager years.
I have met Art Blakey in Juan-les-Pins, my drum teacher Orphelia took us to his concert, it was magical!
The best Jazz shows I ever attended were Art Blakey, Michel Petrucciani, Miton Nascimento, Naná Vasconcelos.
The first jazz record I bought was Jazz from Hell by Frank Zappa.