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...
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 was first exposed to jazz while learning to play chess with my uncles. They would play smooth jazz, and then switch up to more standard types of jazz. But, when they played Kind of Blue by Miles Davis, I was
hooked and I haven't looked back.