By Glenn Astarita on May 19, 2012
Prominent Norwegian improvisers Frode Gjerstad (alto saxophone, clarinets) and m: Paal Nilssen-Love (drums) toured North America in 2008 sans a bassist, and recorded this album at a studio in upstate New York, accentuating their synergy via a largely rough and tumble implementation. Gjerstad shows a fondness for the upper-register and produces a myriad of microtonal and edgy sound-sculpting statements atop Nilssen-Love’s bustling polyrhythms, infused with perpetual motion and resonating counter-maneuvers…
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By Glenn Astarita on May 18, 2012
Nashville-based fretless guitarist Ned Evett is classically trained, but he has also derived influence from the likes of guitarist m: Adrian Belew (King Crimson, m: Frank Zappa), who produced Treehouse at his recording studio in the Nashville area. Evett has moved around the U.S., recording several solo and group-centric albums. Shocking audiences with his extraordinary technique within the progressive-rock power trio format or going toe-to-toe with fretless guitar wonder m: Dave “Fuse” Fiuczynski, he’s broadened his appeal by opening shows for perennial poll-winning rock guitar icon m: Joe Satriani…
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By Glenn Astarita on May 14, 2012
The UK-based Dialogues Trio was formed in 2005 and is led by pianist Bruno Heinen, who sports an insightful compositional pen here on the band’s debut, Twinkle Twinkle. The musicians often radiate a workingman’s type process, where no dillydallying or inflated soloing escapades rule the roost. Featuring reedman m: Julian Siegel, lending his wares on select tracks, it’s an album that yields supplementary rewards on ensuing listens…
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By Glenn Astarita on May 13, 2012
Three prominent modern-era improvisers offer a lesson in stark contrasts on this session, containing semi-structured and composed works. The artists construct off-center balladry, angst, and playful, cartoon-like soundscapes, amid a few doomsday scenarios dispersed throughout the jaggedly moving parts…
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By Glenn Astarita on May 11, 2012
New York City-based tenor saxophonist Jerome Sabbagh has made the rounds by performing with a who’s who of modern jazz artists amid his flourishing career as a solo artist. Possessing a stout tone and commanding presence, the artist’s lyrically resplendent phraseology is often a good fit for a variety of jazz settings, including mainstream and the outside realm. With his acoustic-electric quartet, Sabbagh enjoys a notable affiliation with Belgian keyboard virtuoso Jozef Dumoulin, who spawns a polytonal, electronics vista, complete with subliminal surprises and a consortium of bizarre twists and turns. It’s a frothy, upbeat set where progressive-jazz and nouveau electronics signal an acquiescent medium, fused by abstract expressionism and standard contexts…
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By Glenn Astarita on May 9, 2012
A homogenous and playfully bastardized take on modern jazz, the Los Angeles-based Jazz Punks offers a rather chic, and youthful blend of jazz, punk-rock and rock on its debut outing. It’s an undulating approach and at times, pleasantly schizophrenic by design. Here, electric guitarist m: Sal Polcino looms as the bridge between the rock and jazz element to augment the all-acoustic instrumentation tendered by his cohorts. The album comprises a hodgepodge of quotes and lucid interpretations of jazz and rock classics, morphed into a buoyant stance where no particular genre dominates…
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By Glenn Astarita on May 7, 2012
Among studies with new music icons, reedman m: Anthony Braxton and trombonist m: George Lewis, alto saxophonist Steve Lehman has emerged as an important figures in the recent shift towards a more radical spin on jazz. Pushing the envelope is a common thrust for Lehman, who historically enjoys working within a tight-knit trio setting. On this release, he tenders a fervent mix of jazz standards and originals…
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By Glenn Astarita on May 6, 2012
Aaron Novik blends the readings of the Kabbalah into a nouveau, borderless set of musical inferences, combining horns, strings, electronics and disparate instrumentation with Jewish mysticism and man’s destiny into a shadowy portraiture. Featuring ominous passages and weighty movements, the San Francisco-based leader integrates his electric clarinet amid a cavalcade of psycho-rock sorties and lean improvisational segments, embedded into an ultra-progressive program…
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By Glenn Astarita on May 5, 2012
Drummer and keyboardist Gary Husband follows up Dirty and Beautiful Volume 1 (Abstract Logix, 2010) with a second volume, consummated by a star-studded aggregation of progressive rock, jazz-rock and jazz fusion instrumentalists, most of whom are Abstract Logix recording artists. Husband draws upon disparate frameworks; jazz improvisation, electronica, and other facets seed a fertile underpinning in concert with the musicians’ signature styles…
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By Glenn Astarita on April 29, 2012
World-renowned improvisers align for a meeting of the minds on this live date, spawning a multidimensional stance, where on-the-fly invention rules the roost. The breadth of each artists’ scope and stylization yields a scrappy game plan, containing a succession of abstracts which move forward at a brisk pace. Electronics pioneer Alvin Curran supplies bizarre background treatments, intersecting many of the asymmetrical patterns or mimicking the group dialogues. In a sense, he offers a translucent perspective within the body of this polytonal extravaganza…
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