Bobby Bradford & Hafez Modirzadeh with Mark Dresser, Alex Cline No Business Records (2016) Amid the structural redefinition of jazz music, which is continually ongoing and, as of late, has placed an emphasis on the merger between free improvisation, arch composition and pulsative, rock-based rhythms, there is still much conversation to be had on the
Rempis Percussion Quartet – Cash and Carry Aerophonic, 2015 Recorded August 31st, 2014 at the Hungry Brain, Chicago; recorded, mixed, and mastered by Dave Zuchowski, design by Johnathan Crawford, produced by Dave Rempis Personnel Dave Rempis (alto, tenor & baritone saxophones) Ingebrigt Håker Flaten (bass) Tim Daisy (drums) Frank Rosaly (drums) Track Listing Water Foul
Anna Webber’s Simple Trio – Binary (Skirl, 2016) J@K@L + Michael Attias – Static Adieu (1980 Records, 2016) [cassette] Illegal Crowns (Halvorson/Fujiwara/Delbecq/Bynum) – self-titled (Rogue Art, 2016) Tim Daisy – October Music vol. 2: 7 Compositions for Duet (Relay, 2016) Taylor Ho Bynum – Enter the Plustet (Firehouse 12, 2016) Leah Paul – We Will
Bobby Kapp & Matthew Shipp Cactus (Northern Spy, 2016) The art of ensemble is one of the most fascinating aspects of improvised music to me and any ensemble that includes piano seems almost doubly so. Why? The range of the piano is so large, both in pitch and timbre, and typically requires both hands, which
Moor Mother – Fetish Bones (Don Giovanni, 2016) [vinyl] Josh Sinton’s Ideal Bread – Beating the Teens (Cuneiform, 2014) Tim Daisy’s Celebration Sextet – The Halfway There Suite (Relay, 2016) Earth Tongues – Ohio (Neither/Nor, 2016) Middletown Creative Orchestra – 10.6.97 (Newsonic, 1997)
Guitarist/composer Ava Mendoza has a residency at the Stone this coming week, October 25-30, one of the most anticipated events of the Fall season. Having moved to New York from the Bay Area in 2014, Mendoza has had a major impact on the improvised music scene here via a sound that is all her own.
Pascal Niggenkemper’s Le 7eme Continent Talking Trash (Clean Feed, 2016) Players like bassist-composer Pascal Niggenkemper exemplify the fact that, while there is undeniably a New York jazz scene, creative music in the boroughs is about so much more than just geography. While he now calls Paris home, Niggenkemper, who is of French-German descent and studied
Just a handful of times in any given generation, there is a record that screams out with such overwhelming force, such a level of unwavering vitality, a product of the organic creative process made necessary by the social context of the artistry, that it demands we all stop what we are doing and give it
Moor Mother – Fetish Bones (Don Giovanni, 2016) [vinyl] Colter Frazier-Rob Wallace Duo (pfMentum, 2007) Keefe Jackson, Jim Baker, Julian Kirshner – The Noisy Miner (Astral Spirits, 2016) [cassette] The Moon – Good and Evil (577 Records, 2013) Perihelion – self-titled (Aerophonic, 2016) Dan Peck & Bryan Reeder – 1685: Handel, Scarlatti, and Bach (Tubapede,
Band: Leila Bordreuil-Michael Foster Duo Videographer: Kevin Reilly
