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Awatair (Gos / Tokar / Gadecki): Awatair Plays Coltrane (Fundacja Sluchaj!)

Surprising, singular and unconventional interpretations of four pieces from John Coltrane--"The Father and the Son and the Holy Ghost", "Naima", "Improvisation For Mr. J.C.", and "Inspired by Seraphic Light"--from the Gdansk trio of Michael Gos (drums), Mark Tokar (bass) and Tomasz Gadecki (tenor & baritone sax), comissioned by and performed at the 2019 Jazz Jantar Festival. ... Click to View


Alvin Curran / Jon Rose: Cafe Grand Abyss (Recommended Records)

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Arto Lindsay / Joe McPhee / Ken Vandermark / Phil Sudderberg: Largest Afternoon (Corbett vs. Dempsey)

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Fred Lonberg-Holm / Joe McPhee: No Time Left for Sadness (Corbett vs. Dempsey)

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Joke Lanz / Jason Kahn / Norbert Moslang / Gunter Muller / Christian Weber: kangaroo_kitchen [2 CDS] (Mikroton Recordings)

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VocColours / Yoichiro Kita: Live in Japan (Creative Sources)

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Etienne Nillesen / Nicola Hein / Magda Mayas / Eve Risser / Marta Warelis: Piano Trialogues (Creative Sources)

Nicola L. Hein, performing on prepared guitar, and Etienne Nillesen on extended snare drum, present three trio recordings with three different pianists--Magda Mayas, Eve Risser, and Marta Warelis--each adding a different dimension to Hein & Nillesen's playing, as heard in these three live recordings from The Loft in Cologne, Germany in 2018. ... Click to View


Liquid Quintet (feat Agusti Fernandez / Artur Majewski / Albert Cirera / Rafal Mazur / Ramon Prats): Flux (Fundacja Sluchaj!)

Hailed as the most pyrotechnic and adventurous concert of the 12th Ad Libitum Festival in Warsaw, Poland, the collective quintet of Agusti Fernandez on piano, Artur Majewski on trumpet, Albert Cirera on saxophones, Rafal Mazur on bass, and Ramon Prats on drums, rage and flow through three movements of "Flux", starting at the "Source" and ending in an "Estuary"; awesome. ... Click to View


Steve Swell / Robert Boston / Michael Vatcher: Brain In A Dish (NoBusiness)

Trombonist Steve Swell stands out in this trio of collective improvisation, recorded in the studio in Brooklyn with pianist Robert Boston, also on organ, and drummer Michael Vatcher, in a set of eleven outstanding dialogs that range from highly energetic to deeply introspective, with quirky and unusual technique from Vatcher and Swell adding unique qualities to their collective "brain". ... Click to View


Juan Vinuesa Jazz Quartet (Vinuesa / Berman / Roebke Avery): Blue Shots From Chicago (NoBusiness)

Spanish tenor saxophonist Juan F. G. Vinuesa leads his quartet with Josh Berman on cornet, Jason Roebke on bass, and Mikel Patrick Avery on drums and percussion, three bright stars of the Chicago scene, performing Vinuesa's compositions and arrangements of lyrical modern jazz that blend structure and melody with plenty of space for free playing; wonderful. ... Click to View


Anthony Coleman : Catenary Oath [VINYL] (NoBusiness)

Downtown NY cornerstone pianist Anthony Coleman is heard in a solo album of Coleman originals including a piece dedicated to Roscoe Mitchell, plus one piece each by Billy Strayhorn, John Klenner, and Ellington/George/Hodges/James, all beautifully captured at Boston's Jordan Hall as Coleman reveals his unique logic and inventive approach to solo performance. ... Click to View


Sounds of Liberation: Unreleased (Columbia University 1973) (Corbett vs. Dempsey)

Originally formed by vibraphonist Khan Jamal in 1970 in the Germantown section of Philadelphia (the homefront of Sun Ra's Arkestra) and expanded to a septet when saxophonist Byard Lancaster joined, the band only released one official LP, this soulfully funky, upbeat and lyrical album extending their output with a well-recorded album captured at Columbia University in 1973. ... Click to View


Cyanobacteria / Hubsch: Are You an Orchid or a Dandelion? (Toxo Records)

The trio of Renato Grieco on bass, Francesco Gregoretti on drums, Carl Ludwig Hubsch on tuba in a studio album of dense, deep improvisation, using amplification and feedback with extreme technique and meticulously controlled playing to create slowly evolving sonic environments of profound depth and mystery, a shadowy and fascinating album fraught with suspense. ... Click to View


David Grubbs / Mats Gustafsson / Rob Mazurek: The Underflow (Corbett vs. Dempsey)

Recorded during two nights at Underflow Records and Art Gallery in Athens, Greece in 2019, The Underflow trio of Mats Gustafsson (reeds, fluteophone, electronics) from Sweden, with Chicago-based Rob Mazurek (trumpet, electronics), and David Grubbs (electric guitar) present an album of wide-ranging, powerful, often explosively eccentric, and always informed improvisation. ... Click to View


Leap Of Faith: Crumpled Dimensions (Evil Clown)

The core Leap of Faith trio of David Peck (PEK) on winds & percussion, Glynis Lomon on cello, aquasonic & voice, and Yuri Zbitnov on drums & percussion, a subunit of Boston's Leap of Faith Orchestra, is joined by Jim Warshauer (reeds) and Eric Dahlman (trumpet, overtone voice) for an exciting and far-ranging improvisation of exotic instrumentation and intention. ... Click to View


Goh Kwang Lee: Avalanche (2 CDs) (Herbal International)

A double CD of experimental composition from Malaysian sound artist Goh Lee Kwang, hypnotic works of strangely repeating glitch that bookend shorter works of rich percussive abstractions, including a work with processed voice and an extended percussive "Ritual", singular pieces reflecting Kwang's curious mind and long experience merging aberrant and subtle sound. ... Click to View


Alexandra Grimal / Joelle Leandre: Desordre (Montagne Noire)

A playful, thoughtful, and quick witted encounter between Egyptian saxophonist Alexandra Grimal and French double bassist Joelle Leandre, at times each on voice, emphasizing a "desired disorder" in their approach to instant composition and declaring that neither determines the course of the music, but that they follow it simply as the music decides; wonderful. ... Click to View


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  Leap of Faith 
  Topological Constructions  
  (Evil Clown) 


  
   review by Marc Medwin
  2019-10-14
Leap of Faith: Topological Constructions (Evil Clown)

Bill Dixon used to say that a soloist is the smallest orchestra possible. David Peck seems to form ensembles on that premise. Leap of Faith is one of those aggregates in which size, shape, timbre and even instrumental distinction are continually and wonderfully present and blurred, contradiction even the notion of contradiction.

Part of the fun is that there’s a whole lotta doublin’ goin; on. Just look at the Rabelaisian list of instruments the leader wields to suit his constantly morphing purposes, half of which I can’t identify, or the briefer but equally fascinating arsenal of drummer Yuri Zbitnoff. All that timbral merriment foregrounds the fact that performer anonymity is a common occurrence, leaving the listener afloat in a haze of changing style, sound and space. There are certainly times when that legal fiction we still call jazz rears its head, or threatens to do so, but it quickly submerges beneath orchestral shades and crystalline percussion avalanches. It is absolutely wonderful to hear cellist Glynis Lomon, whose work, speaking of Bill Dixon, I remember fondly from the 2007 Vision Festival and who, like everyone in Leap of Faith, is in excellent form here. There are certain points at which delay, again conjuring shades of that pioneering and now departed trumpeter, comes centerstage, but electronics are in play less frequently than on other Evil Clown releases.

As musical trope and idea ebb and flow, and as melodic simplicity and overtone complexity vie for prominence, the sound of the room is ever-present. The recording has a beautifully resonant quality, not overly reverberant but certainly live, that is lacking from so many documents of improvised music, and the room functions almost like another instrument, lending its own character to every sound it contains. The net effect is a sense of live music making and its attendant excitement and discovery in action as we’re let in on the processes behind its creation. This is music delightfully and consciously shorn of idiom and the more confrontational for it, even during its most peaceful moments, of which there are plenty.



Leap of Faith: Topological Constructions
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