Monday, May 13, 2019
Thursday, May 2, 2019
Meanwhile Cheryl has been alerting me to some fine new recordings of hers of late and I come on here to praise a few, namely her Beyond Trio Live at I Beam and her Beyond Quartet (Bandcamp). The trio features Cheryl on flute and alto flute plus Michael Eaton on soprano sax and Reggie Sylvester on drums. The Quartet date is Pyle and Eaton plus Claire de Brunner on bassoon and Gene Coleman on bass flute and piccolo. Everyone on both dates is in fine form.
Both albums reward your listening concentration with a very alive set of Cheryl's compositions, an Improv Music and New Thing coming together that is a definite exhilaration from start to finish. Her groups grow ever more tightly spun together though still with the freedom that has always been part of her hallmark. And her compositions are a new element, more fully worked out and a vital new scaffolding for what she continues to evolve into now.
I would say most definitely that Cheryl is doing some of the most interesting New Jazz in and around New York these days. These two albums show us why she is a voice that must be heard. Check these out by all means!
To order etc here are the two links: https://cherylpyle.bandcamp.com/album/beyond-trio-cheryl-pyle-michael-eaton-reggie-sylvester https://cherylpyle.bandcamp.com/album/beyond-quartet-cheryl-pyle-michael-eaton-claire-de-brunner-gene-coleman
Friday, April 26, 2019
A nice arrangement of Wayne Shorter's "Speak No Evil" caps a lively set of progressive Funk, Modern-day swinging, the blues and the truth, which is what the blues tell, right? We hear the band in the Evanston, Il. club SPACE, Chris's hometown haunt. Clearly everyone is relaxed and hooked up to the main stem.
Chris has his own voice and is not afraid to let loose here, nor does the quartet hang back. It is one of those immediate hookups that reminds you why hitting the clubs even today is the best way to hear the music, and too why live recordings if right are very right.
Check this out!
Sunday, April 21, 2019
The music is slightly reminiscent at times of the classic Gary Burton group in their later ECM days, with well done songcrafting (in this case songs by Ward, Okimoto, etc.) and then some that add singer Jamie Ward, and then finally arrangements for this ensemble of music originally composed for other instrumentation by Modern Classical composers (Salzedo, Faure) or not-so-Modern (Handel).
Ward is a very good harpist and one hears her with a happy ear if one loves such things. The rest of the band is very good as well.
The main thrust is the way everything mixes together and it is a listening that some of the smoothies and new agers might keep on if they heard yet there is substance here and this is not some kind of pablum for the musically challenged.
So you who dig the harp, check this out!
Friday, April 19, 2019
It is an example of the centrality of the WHO in today's open or Free Avant Jazz gathering. As you listen you know that this particular combination is the defining factor in the aural results. Perhaps it is very obvious but then it still warrants thinking about, in part because it is never so true as in this brand of musical interaction.
Truly, every person in this gathering defines the music. First off of course is Ivo himself. He embodies the Jazz Tradition and the Modern-Avant Tradition in very much his own way--with creatively brilliant line weaving that assume all that went before and neither ignores the before nor attaches to it. He simply asserts the moment of his own musical sense at every moment and in weighs the past as it travels to the today-future.
Nate Wooley on trumpet does his owning reading of past-present-future too. You might hear a growl that alludes to Bubber Miley perhaps, and it perfectly belongs to the dialog. So too Matt Manieri climbs atop what has been and makes of his viola a freely floating, all-encompassing vehicle to express one quarter of the whole. And he does so in ways that go beyond while going within himself too.
Matt Shipp is the ideal pianist for a thoughtfully free quartet date like this, because he thrives ever in an open set game. It is what he establishes himself within, as anyone who has followed his trajectory with attention in the last few decades.
And in the end it is the moment being right for these four and nobody else that creates ir-reduplicable results.The outlook is radically collective, I suppose you could say. Everybody solos, and so too nobody solos, yet all four come in and out of focus like sun and clouds alternating on a spring day. There are vast swatches of floated note clusters punctuated with passing jabbers and woodchopper's balls hanging suspended then departing as abruptly as they came.
This could be thought of as a state-of-the-art example of free improvisation today, as it is that. If you want to check what is up nowadays this to my mind is one you should not miss. Ivo Perelman and this quartet are at the top of their game. Give it a listen by all means.
Tuesday, February 26, 2019
Burton is of course the constant on piano and he is featured in solo as well as varying duos and trios wit Roberto Haliffi on drums, Stefan Raidl on double bass (for the first CD) and Tilo Raumheier on flute (for the second CD).
The emphasis is on how Burton has evolved and keeps going like the formation of a coral reef island where there is a building atop via accumulative developments. So in the course of this program the very free mixes with Monk, with songs and swinging, with compositions and tonal singing. It is a definitive look at Burton as he is now, ever moving forward and worth every moment of your listening time. This is that and anyone who knows and digs Burton's earlier work, does not know it all that well or just loves the piano will find this I think very much a revelation, an absorbing and rewarding thing.
I am so glad I have it. That should tell you something?
Thursday, February 21, 2019
It is a set that lives up to the promise of such a gathering. There is Luis Lopes on electric guitar, Rodrigo Amado on tenor, Bruno Parrinha on soprano and clarinet, Pedro Sousa on tenor sax, Rodrigo Pinheiro on piano and Rhodes, Ricardo Jacinto on cello, Hernani Faustino on double bass, Pedro Lopes on turntables and electronics and Gabriel Ferrandini on drums and percussion.
And the four-part program makes for the best sort of free improvisation, where all are attuned to one another and listen while also having each an important vision of what they can bring to each moment. Part One sets the stage with a kind of soundscaped panorama, Part Two rockets off to a pointillistic brilliance by the stringed instruments (that includes piano) and drums and on from there, without looking back and taking no prisoners. The horns join in, we launch skywards and there is memorable and riveting sojourns to places far beyond earth. The sound colors are rainbow-like and the collective contributions are far beyond, more than the sum of each individual part, though everyone can be listened to in focus with profit as well. It exemplifies what a larger group can bring to the freedom ringing.
In short, this is a summit worthy of the name, a rather monumental adventure that anyone who appreciates free improvisation will respond to. If you want to get a feel for what is happening in Lisbon, or even if you already know, this one is star-full! Yes, indeed. Grab this one!