Tuesday, January 21, 2020
The eight interactions that result cover a unique range of moods, densities, textures, in part because the artists quite naturally sound themselves differently on piano and vibes, on violin and viola, respectively, but it is even more the case that by this point in the game both individually and collaboratively they are of such intensive focus and have honed their expressivity to such an exacting level that the possibilities are potentially without limits. That the session selects from those possibilities according to mutually open communicativeness and mood is only to say that both are well attuned to one another and both are of master improviser status.
If introspection, inward searching, articulate ownership of together-exploration are the tendencies for this session it all seems totally right for the moment of together-being for the now of that present, for that moment in the dual musical biographies of the two artists, that space-in-time.
And it fits the always thoughtful countenances of Karl Berger and Jason Kao Hwang that this album sounds as it does, inventively...superbly so. There is nothing quite like this gathering of a twosome in either discographies, nothing quite as poised to stand in the face of a dual inner reading of musical selves. Clearly there is an abundance of chemistry to be had in nearly every moment of this session.
A series of careful repeated listens brought into clear relief for me the subtly profound depths that the two plummet happily. Set aside some time and listen openly to this one. I believe you too will discover some rare and very meaningful sounds here, spontaneous dual compositions of a remarkably high level of attainment. Kudos to Maestros Berger and Hwang!
Wednesday, January 8, 2020
All this comes into play as I sit and listen again to a very lively album of Free Improvisations/Free Jazz by two authoritative original voices of the art, tenor saxophonist Ivo Perelman and pianist Matthew Ship and their Live in Nuremberg (SMP Records). It's a very inspired set of duets recorded last June, 2019 at the Art of Improvisation Festival. I listen and appreciate how perhaps it is because of the many that we can sustain the very best, that there is no "school" of music making without a sizable classroom and the participation of a critical mass of creative souls.
Specifically, with all the improvised music available out there right now, why this album and not some other? Part of the answer is that the Perelman-Shipp collaboration brings together two mighty oaks of Open Improvisation today, each a formidable voice on his respective instrument. Most importantly the level of interaction between the two has in the recent past had a chance to blossom before our listening selves, with a series of recordings that document for us the growing significance, the flowering chemistry of intersection. (I've covered a good sampling of what they've done together lately. Type their names in the search index box above for relevant reviews.)
Live in Nuremberg puts just the two together on stage for an hour. They reach peaks of inspiration throughout, with inspired-idea after inspired-idea bouncing off one another, reaching back to allusions to classic Jazz at some points yet only with a wisp of suggestivity and then plummeting forward to present and future with soul, energy and an expressive space opening up before us in ways exciting to hear.
It is one of those recordings where the artists fall together into an inventive whirlwind that takes us all far beyond what we might have a right to expect for a purely spontaneous venture. Of course the years of preparation by both come into play and the now intimate familiarity each has with what to expect in style, sound color and substance each from the other plays a critical part in what happens in the moment on that day.
And so in the digital maelstrom of hundreds of recent releases centered around New Jazz, with all the number of digital and physical albums available now, Live in Nuremberg stands out in spite of the clutter. Give this a few listens and you will be exposing yourself to some of the most consistently inspired and energized examples of the art of improvisation today.
Do not hesitate! Grab onto this one.
Friday, January 3, 2020
The music hearkens back to a historical period where there was an extremely fruitful cultural interchange between the Chinese Tang Dynasty (618-907) and the Japanese of the Asuka and Nara Epochs (538-794).
Instruments to be heard include shakuhachi flute, koto, guzheng, erhu, shamisen, biwa, and the taiko drum.
The album is epitomized by an interpretation of the timeless Japanese classic song "Moon Over City Ruins." Several old Chinese folk songs and additional Japanese classics from the period paint for us a rustic pre-modern landscape where the natural and human worlds existed in a kind of parallel juxtaposition that these ancient strains embody. The music speaks beautiful volumes of a time now long ago. The readings are inspired, surely, and in the music as a whole there is a magic that can still cast its spell on us and most certainly does on this album. Just listen to the arrangement/improvisation on the haunting "Sakura" that opens the program and doubtless you will feel yourself transported as I did.
Monday, December 30, 2019
Arrangements vary from traditional-village to contemporary rock-tinged, from traditional instruments to mainstream Western. The songs are often modal minor and are apparently often based on Dainas two-stanza form, marking birth, marriage or death and/or designed to be sung on cyclic yearly calendar milestones such as Christmas, Easter, Summer Solstice, etc. There are more than 300,000 Dainas-associated melodies that have been identified and some 1.2 million texts according to the liners of this album. That is quite a cache!
The vocalists and instrumentalists are first-rate and the music vibrant and winning, memorable and down-to-earth. If I am a novice and have little-to-no experience with the music of this region I can say that the program on this album is a winning one to my ears.
Wednesday, December 18, 2019
It is Karoline Wallace on vocals, Hilde Marie Holsen on trumpet and effects, Hakon Aase on violin and percussion and Alessandro Sgobbio on piano. The eleven numbers here come from the pen of Sgobbio and there clearly is improvisation at hand as well, the most notable of the latter especially from him.
These are song-like and songful reflections with a built-in makeover of some of the atmospherics of the classical ECM Jazz that became especially influential towards the end of our last century. It is open-form music with musical objectives, signposts that all realize at times, part of the ensemble at others, with the vocals a central focus along with implied, inherent song form.
Sgobbio's piano playing is a luscious thing, searching, advanced yet always thoughtful and impressionistic. Vocalist Karoline Wallace has a clear, sweet. pitchful-wispful voice that does not remind of Astrud Gilberto yet has some of her sweetness in abundance for sure.
Hakon Aase's violin tends (to my ears) more often to appear in an improvisational commentary role than does trumpetist Hilde Marie Holsen but both add much to the ensemble when they are present, for color and substance.
Put it all together and there is a consistently magical spirit-music going on, wall-to-wall. Not cool so much as poem-cavernous, this is. It is sweet but not stickily, sickeningly so. Far from it. Wallace and Sgobbio strike it off with a remarkable chemistry the others second and forward.
It a word, beautiful. This is one outstandingly beautiful recording and Silent Fires deserve acclaim for it. A big bravo, very big.
Monday, December 9, 2019
The album successfully straddles the realms of avant improvisation and jazz composition with three pieces by Houle, two by Eisenstadt, two by Hawkins and one each by Steve Lacy, Charles Ives (!), and Andrew Hill.
At times one is reminded of the Jarrett-Redman piano-clarinet doublings on the now rather ancient album Birth, but merely as a predecessor, not in terms of imitation.
This is primo New Music-Avant Jazz with excellent clarinet work from Houle and equally thoughtful and inventive contributions from Hawkins and Eisenstadt. It is one to grow into, for the more one listens the better it seems, at least to my ears. I believe most readers will feel the same if they give this one their attention.
All three artists have slowly and surely become central to the music without a lot of fanfare. Here they give us the unexpected yet nonetheless continue the winning ways we have come to expect from each in the past decade, give or take.
Very strongly recommended. Grab this one and listen!
Friday, December 6, 2019
This one really feels as quartet-like as it is, in that everybody occupies an instrument zone that forwards the free-rhythm-with-soloists idea that evolved into a foundation of "Free Jazz" in the sixties. That is not to say that the playing is derivative because it is not. It is just that it is part of a whole in avant music making that has a history, and that it makes it all new at the same time as it belongs to a special way of quartet-ing.
So we have Maestro Parker striding, bowing, and carrying forth in ways that punctuate and open up Maestro Kapp to swing-beyond-swing zones and set up Maestros Shipp and Perelman to be freely where it seems right and in the now of things.
And in the process the rhythm team inspires some extraordinary soloing collectively and individually from tenor and piano, not to mention excellent rhythm team inventions in themselves. By now we have four masters of open form in an ultra-hip committal to making the most of every musical moment.
You listen and you hear the history of the form but you hear too the culmination of it all into where these four were in the very moment of the studio date at hand.
Compare the near balladic "Ebullience" with the somewhat more dense and up "Bliss" and you in a way have the right-now analogue parallel to "Cool Blues" and "Koko?" Not exactly yet this is a part of the continuum in time and aural space and an important part at that.
So get in with this one and be in with the present example of improvisatory music at its finest. Outstanding!