All About Jazz needs your help and we have a deal. Pay $20 and we'll hide those six pesky Google ads that appear on every page, plus this box and the slideout box on the right for a full year! You'll also fund website expansion.
Berlin-based guitarist Jorg Schippa imparts the best of German engineering with his estimable associates. Take a little off-center Frank Zappa like trickery; high-octane organic/acoustic jazz rock, and morph with chamber-like ambience then add complex progressive jazz and European folk into the big picture. Somewhat remarkably, the band possesses a unique identity with a signature sound and line of attack, fronted by Schippa and the dual clarinet attack of Jurgen Kupke (The Clarinet Trio) and Florian Bergmann. At times, the unit asserts a rhythm-heavy disposition via precision-oriented beats amid lithe detours, thorny unison choruses and gobs of counterpoint among the soloists. They also experiment along with a few movements that could seemingly serve as the backdrop for ballet, coupled with passages devised on idiosyncratic, odd-metered grooves.
"Terrier" is a glaring example of the quartet's ingenuity. Here, drummer Christian Marien kicks it off with a regimented march progression, leading to contrasting unison choruses and weaving navigations of the perky theme. They occasionally border the fringes of classical music, and the soloists embark upon a few choruses, consisting of animated three-way dialogues and razor-sharp, offbeat deviations. Yet the musicians sustain a pliant line of attack, framed within a fluidly moving but disciplined methodology. During the bridge, the artists tunnel through avant-garde terrain and lash out with a bit of angst, and cycle through a straight-four rock pulse before revisiting the opening motif towards the finale. Nonetheless, the ensemble's stylistic and extensive conceptual approach is extraordinarily cohesive and spawns thrills a minute. (Passionately recommended...)
I grew up listening to mainstream '70s rock then ended up on the staff at the college paper at San Diego State, and volunteered to review heavy metal LPs. My second semester, the music editor dropped a Fenton Robinson LP on my desk, Night Flight. You like metal; they play guitar--he plays guitar, the editor told me
I grew up listening to mainstream '70s rock then ended up on the staff at the college paper at San Diego State, and volunteered to review heavy metal LPs. My second semester, the music editor dropped a Fenton Robinson LP on my desk, Night Flight. You like metal; they play guitar--he plays guitar, the editor told me. If we don't run a review, Alligator Records is going to stop servicing us.
Night Flight opened up a whole new world for me--the blues led me, inevitably, to Basie, who led to Duke, who led to Mingus, who led to Miles, who led to ...