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Mostly Other People Do the Killing: Paint (Hot Cup)

The first release by the piano trio configuration of Mostly Other People Do the Killing and features bassist/composer Moppa Elliott, pianist Ron Stabinsky, and drummer Kevin Shea, with each composition named after a small town in Pennsylvania that contains a color, and the town of "Paint, PA" lent its name to the title, with one apt Duke Ellington cover. ... Click to View


Moppa Elliott : Still, Up In The Air (Hot Cup)

Solo double-bass improvisations from Mostly Other People Do the Killing bassist and leader Moppa Elliot, consisting of sequences of contrasting themes, or musical cubism in the spirit of Picasso and Braque, presenting 7 of 14 sequences where the improvisation is a series of disparate musical ideas that transition rapidly in an attempt to disrupt the linear progression of thematic development. ... Click to View


Leandre / Minton: Leandre / Minton (Fou Records)

Phil Minton started as a trumpeter and became one of free improv's most outside vocalists; Joelle Leandre is a double bassist who also performs free vocal improv; this is their first recorded collaboration, and it's an unusual and wonderful album of heavy tone improvisation, plucked and bowed, and a masterfully odd free association of vocalisation. ... Click to View


Talibam! : Endgame Of The Anthropocene [VINYL] (ESP)

Talibam!'s 1st cinematic album of through-composed ecogothic geosonics, the "soundtrack to 2048's despotic nationalism and crumbling international infrastructure, underscoring an eco-mercantilistic tragedy and the desperate plundering of the last pristine landscape on Earth" from NY's duo of Matt Mottel on mini moog and synths, and Kevin Shea on drums, and midi mallet percussion. ... Click to View


Talibam! / Matt Nelson / Ron Stabinsky: Hard Vibe [VINYL] (ESP)

Talibam! with Matt Mottel on sax, Kevin Shea on drums, Matt Mottel on Fender Rhodes and synth and Ron Stabinsky on organ take inspiration from Herbie Hancock's 70's electronics, Miles Davis' "On the Corner" and Albert Ayler's New grass in compositions that transforms aspects of rhythm changes into a disciplined sequence, a new take on psychedelic jazz. ... Click to View


Crys Cole / Oren Ambarchi: Hotel Record [VINYL 2 LPs] (Black Truffle)

A double LP and the second release from the duo of Crys Cole and Oren Ambarchi, also romantic partners, as they explore their relationship through sound and voice, each side presenting a unique approach to their collaboration while maintaining a certain somnambulist feeling over rich guitar and organ work, and other unfathomable sound. ... Click to View


Boneshaker (Mars Williams / Paal Nilssen-Love / Kent Kessler): Thinking Out Loud (Trost Records)

The third album from this international trio of powerful improvisers--Norwegian drummer/percussionist Paal Nilssen-Love, Chicago bassist Kent Kessler, and Chicago/NY saxophonist Mars William-- in four odysseys that take the listener from introspective playing to out and out blowing, using technique to serve their incredible dialog. ... Click to View


Sven-Ake Johansson / Alexander Von Schlippenbach : Schraubenlieder [VINYL] (Trost Records)

Drummer Sven-Ake Johansson is also a poet, writer and visual artist; here he joined forced with Alexander von Schlippenbach in 1988 to record these songs, never previously released, sung in German and English, for a set of 9 fascinating narrations that engage the listener independent of language, as von Schlippenbach improvises with prodigious technique. ... Click to View


Annette Peacock & Paul Bley: Dual Unity (Bamboo)

Reissuing the debut album by vocalist Annette Peacock and pianist Paul Bley recorded during their first European tour in 1970, in a quartet with compatriots Mario Pavone on bass and Laurence Cook on drums, Bley using an early Moog synthesizer; unique and original avant jazz. ... Click to View


Paul Bley Trio: Closer [VINYL] (ESP)

A vinyl reissue of Paul Bley's 2nd ESP album from 1966, a lyrical and lush trio setting with material mostly from Carla Bley, one Ornette Coleman number, and one from Annette Peacock, with Steve Swallow on bass and Barry Altschul on percussion, exploratory free jazz that uses melodic intention in assertive but not aggressive aways; a classic. ... Click to View


Pharoah Sanders : Quintet [VINYL] (ESP)

A vinyl reissue of Pharoah Sanders' 1965 debut release on ESP, in a quinet with Jane Getz on piano, William Bennett on bass, Stan Foster on trumpet and Mavin Pattillo on percussion, decidedly a jazz album from this outside player known for his association with John Coltrane in his freeist moments, here bridging lyrical and avant worlds with powerful playing. ... Click to View


Wadada Smith Leo: Najwa (Tum)

Paying tribute to musicians whose vision paved the way for modern creative players to use new approaches, language and philosophy in improvisation, trumpeter Wadada Leo Smith's band with four guitarists, electric bass, drums and percussion dedicates five incredible compositions to Ornette Coleman, John Coltrane, Ronald Shannon Jackson, and Billie Holiday. ... Click to View


Wadada Smith Leo: Solo - Reflections And Meditations On Monk (Tum)

An intimate album of solo trumpet from Wadada Leo Smith, performing compositions by Thelonious Monk, Smith professing in an essay in the accompanying booklet that he was motivated to become a composer by Monk above other contemporaries for his ideas of composition and bands; his admiration and love of Monk's work is clear in this beautifully lyrical album. ... Click to View


Aki Takase / Alexander von Schlippenbach: So Long, Eric! Homage to Eric Dolphy (Intakt)

Alexander von Schlippenbach and Aki Takase assembled an ensemble of Dolphy interpreters that includes bass clarinetist Rudi Mahall, saxophonist Tobias Delius, vibraphonist Karl Berger, trumpeter Axel Dorner, trombonist Nils Wogram, &c, for a fresh take on compositions from one of free jazz's most iconic composers, Eric Dolphy, captured live in Berlin, 2014. ... Click to View


Steve Noble / Yoni Silver: Home (Aural Terrains)

The two-headed snake on the cover of this album aptly describes the sublimely sinuous and dark interplay between London free jazz drummer Steve Noble and bass clarinetist Yoni Silver, their 4-part improvisation taking on sinister elements of exceptional cymbal techniques, unusual drum tones, and extended lower register tones and high harmonics; excellent. ... Click to View


Various Artists: Asian Meeting Recordings #1 (Doubtmusic)

Otomo Yoshihide started The Asian Meeting Festival in 2005 to foster creative interaction between Japanese and other Asian musicians, since 2014 curated by DJ Sniff, and here in the 2017 edition at GOK Sound, in Tokyo, Japan with a who's-who of players including Yoshihide, Ryoko Ono, Ko Ishikawa, Son X, KEITO, Yuji Ishihara, Yuen Chee Wai, &c. &c. ... Click to View


Jim Black Trio: The Constant (Intakt)

A beautiful example of the modern piano trio, led by in-demand drummer, Jim Black, with Elias Stemeseder the pianist and Thomas Morgan on bass, in a lyrical album that uses Black's compelling and elusive drumming on 9 original Black compositions and one unexpected standard, as all three deliver complex playing that sounds accessible and engaging, a true achievement. ... Click to View


Fred Frith / Barry Guy: Backscatter Bright Blue (Intakt)

Both bassist Barry Guy and guitarist Fred Frith are key artists of Switzerland's Intakt label catalog, but surprisingly the two have never shared a stage together; Intakt had a feeling about their pairing and brought them into the studio, this superb duo album being the result in 10 brilliant tracks intertwining acoustic double bass and electric guitar. ... Click to View


Fred Frith Trio: Another Day in Fucking Paradise (Intakt)

Proclaiming that he nothing more in mind then getting together with a couple of formidable musicians, guitarist Fred Frith and Mills College alumni Jordan Glenn on drums and Jason Hoopes on electric and double bass take their listeners through 13 connected pieces that reference rock, jazz and ea-soundscape in an impressive album from a remarkable new group. ... Click to View


Lotte Anker / Fred Frith: Edge Of The Light (Intakt)

An intimate dialog between frequent collaborators, UK guitarist Fred Frith and Copenhagen saxophonist Lotte Anker, both players listening carefully as they interact in a fragile dialog of profound technique and inventive approach, using texture and nuance to create unusual and captivating interchanges that demonstrate how compatible these two very different instruments can be. ... Click to View


Schlippenbach Trio (Schlippenbach / Evan Parker / Lovens): Features (Intakt)

The long-standing Schlippenbach Trio with Evan Parker on saxophone and Paul Lovens on drums presents 15 concise "Features", improvisations of great depth and diversity, from the beautifully stark solo piano that opens the album to intense collective interactions, avoiding excess in deference to the profound expression of an inspiring group chemistry. ... Click to View


Mark Dresser : Modicana [VINYL] (NoBusiness)

Double Bassist Mark Dresser, a mainstay of the Downtown NY scene as an improviser and composer, and also prominent on the US West Coast and as an international touring artist, releases a powerful album of distinctive solo playing, both technically and melodically, with 2 tracks caught live at the Umea Jazz Festival and others recorded at the University of California, San Diego. ... Click to View


Bobby Bradford / Hafez Modirzadeh / Ken Filiano / Royal Hartigan: Live at the Magic Triangle [VINYL] (NoBusiness)

A live concert at Amherst, Massachusetts in 2016 as part of the Magical Triangle Jazz Series from the quartet of legendary cornetist Bobby Bradford, Turkish saxophonist Hafez Modirzadeh on tenor, in-demand New York bassist Ken Filiano, and percussionist/drummer Royal Hartigan, the band performing two Bradford compositions, with one each from Filiano, Modirzadeh and Hartigan. ... Click to View


Andrew Lamb / Warren Smith / Arkadijus Gotesmanas: The Sea of Modicum [VINYL] (NoBusiness)

Captured live at the 2016 Vilnius Jazz Festival, the free jazz trio of saxophonist Andrew Lamb and percussionists Warren Smith and Arkadijus Gotesmanas provide a unique orchestration, with the percussionists building rhythmic structures over which AACM alumni Lamb's powerful saxophone work emerges; a great album of solid exploratory free jazz. ... Click to View


Yedo Gibson / Hernani Faustino / Vasco Trilla: CHAIN (NoBusiness)

A fiery and energetic album of masterful free jazz from Brazilian saxophonist Yedo Gibson, Portuguese-Brazilian drummer and percussionist Vasco Trilla, and Portuguese bass player Hernani Faustino (Red Trio, K4 Quadrado Azul), recording in the studio for 6 dynamic dialogs that uses a variety of approaches and references to free jazz and creative improv. ... Click to View


TON-KLAMI (Midori Takada / Kang Tae Hwan / Masahiko Satoh): Prophesy of Nue (NoBusiness)

Ton-Klami was an influential Japanese free improvising band active in the 90s, and leading to the solo careers of percussionist Midori Takada, pianist Masahiko Satoh, and saxophonist Kang Tae Hwan; here the band is heard in a 1995 live concert recorded at Design Plaza Hofu in Yamaguchi, Japan, recorded by Chap-Chap Records but never released. ... Click to View


Liudas Mockunas : Hydro [VINYL] (NoBusiness)

Lithuanian reedist Liudas Mockunas in an unusual record of clarinet and saxophone improvisations, from solo work of powerful technique to pieces using water prepared instruments to create a wealth of bubbling and aberrant sound on the instrument, side A presenting the 7 part "Hydration Suite", Side B the 3 part "Rehydration", and "Dehydration". ... Click to View


James Ulmer Blood W/ The Thing: Baby Talk (The Thing Records)

The Thing with Mats Gustafsson on tenor and baritone sax, Ingebrigt Haker-Flaten on electric and double bass, and Paal Nilssen-Love on drums and percussion, are joined by Downtown NY legend, guitarist James Blood Ulmer, for a live set at the Moldel International Jazz Festival in 2015 performing an exuberant and all-out impressive set of Ulmer composions. ... Click to View


James Ulmer Blood W/ The Thing: Baby Talk [VINYL] (The Thing Records)

The Thing with Mats Gustafsson on tenor and baritone sax, Ingebrigt Haker-Flaten on electric and double bass, and Paal Nilssen-Love on drums and percussion, are joined by Downtown NY legend, guitarist James Blood Ulmer, for a live set at the Moldel International Jazz Festival in 2015 performing an exuberant and all-out impressive set of Ulmer composions. ... Click to View


Sun Ra & His Myth Science Solar Arkestra: The Lost Arkestra Series Vol 1 & 2 [2 10-INCH VINYL RECORDS] (Art Yard)

A double 10" featuring unreleased and rare Sun Ra recordings, including a live track from Paris in 1983, two unreleased cuts from the "Disco 3000" concert tapes, a quartet session with Sun Ra on the Crumar Mainman synth, and three selections from the Sub-Underground series of Saturn LPs, including a ballad and new material from "Live at Temple" and "What's New". ... Click to View


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The Best Kept Secret in the East

Tom Rainey Sits Behind the Kit for Tim Berne, Mark Helias and Tony Malaby. Surely You've Noticed

By Matt Rand


Drummer Tom Rainey and saxophonist Tony Malaby looked like opposites performing at Brooklyn's Barbes with bassist Mark Helias' Open Loose. Malaby was turning back and forth at his waist, letting the bell of his horn project its sound waves left and right and left again. He shook his left elbow on occasion, showing his excitement at the notes he was fingering. Sometimes, his eyes opened wide, either exasperated or surprised.

But Rainey was another story entirely. His facial muscles seemed deadened, and his limbs only moved to play the drums. His movements looked heavy and deliberate. His overall affect seemed one almost of boredom. ("Don't take it personally," joked Tim Berne, a saxophonist and composer with whom Rainey has worked in various ensembles since the early 1980s, of Rainey's flat facial expression.)

And yet, with improvised music, the appearance of exertion is generally important. If music is being played for the first (and only) time, is not just a reordering of memorized licks, then we expect that we will see musicians stretching to the edge of their abilities. And, stretching to the edge of one's abilities usually inspires telltale visual cues: pained or rapturous expressions, sweat, oddly-timed laughs, uncontrolled body movements.

That's what we've come to expect at improvised shows, in addition, of course, to great music. Rainey doesn't make strange facial expressions when he plays. He doesn't grunt or shake. He just plays great music.

"He's gotta be the most underrated musician I've ever seen," said Berne. "I don't know anybody who's on as many records, plays with as many different, really great people, who doesn't get any attention."

Berne is a bandleader who has his own record label, Screwgun Records, and he knows a thing or two about getting attention. But, he said, Rainey doesn't have the instinct for it. "I think it's 'cause he doesn't have any aspirations as a bandleader. And he doesn't come off the bandstand and start selling his shit; he's just really into the gig and that's it. He doesn't have that much patience for the bullshit that you have to do to get attention."

Born and raised in Santa Barbara, California, Rainey said he started playing the drums before he can remember. In junior high and high school, he studied standard school percussion instruments like timpani, marimba and vibraphone, but he also played drums to rock music.

"My first professional experience was playing with a dance band," Rainey said. "At the time I loved it. Top 40 music at that time was very interesting. There was such a variety of stuff that was musically at the risk of sounding like some old fogey a lot more interesting than the stuff they're dancing to today. They were real bands; now I guess you'd have to go out and do, I don't know, Britney Spears covers or something. But back then you were playing Steely Dan, Chicago, Santana; it was really a variety of bands, some of which I still really like."

In 1975, he headed east for Boston to go to the Berklee College of Music. He was eager to get better at playing the drums, but "dropped out after my first semester. The drum teacher I had I think he was probably just out of Berklee himself he had me play for him, and he said, 'Yeah that sounds good; we'll come in once a week and talk about drumming.' I thought, 'I don't need to pay tuition for this; I mean, I do that with my friends.'"

When Rainey finally ended up in New York, he was just in time for the loft scene to end. His first gig in New York was with Mike Nock, which Rainey said impressed him because "he had an album out." He also played with Ratzo Harris and Tom Harrell, and then Kenny Werner. In the early '90s, he started doing gigs with Fred Hersch.

By the mid '90s, Rainey was playing steadily with the two bandleaders that would come to be his most valuable musical associations, Tim Berne and Mark Helias.

Berne said that, "With Paraphrase in 1995, I think, that was the first time that [Rainey] really had an equal part in what was going on musically. And from that point on, I think his playing really grew amazingly. He became a lot more confident about imposing his ideas on the situation, even when we were playing written music, and he stopped acting like a sideman."

As a sideman, Rainey said he can get bored. No matter how good a soloist is, if he feels like it's the third solo in a row after two other solos, Rainey said, he's lost interest. "I hate being on a gig and thinking this tune should have ended 5 minutes ago."

Both Berne and Helias, instead, offer Rainey opportunities for his ideas to become integral parts of the music when it is performed or recorded. Plus there's a great deal of comfort involved for Rainey. "All those bands, they're all my best friends. It's a lot more than just playing music; we've got our rapport on the bandstand but also socially," he said. "As a creative improvising musician, I couldn't be in a better situation in the world. If I'm going to get bored with these guys, then I should look for another line of work."

In Berne's and Helias' bands, sections of a song are composed and sections are improvised. But even with the composed sections, Berne and Helias generally leave the drum part blank, letting Rainey develop his own part. Helias said that Rainey is "great at processing a piece, sometimes a very complex piece, and just orchestrating his playing. And as we learn it and get more deeply involved in it, then we can start deconstructing it, and really superimposing he really gets oblique after a while."

Berne described the process similarly. "In the beginning, it's the densest because he's playing everything, because he's such a good reader. Then he'll strip it away. Once he internalizes it and finds an approach, he really varies it."

Berne added that he felt that Rainey's playing on 2003's The sublime and. (Thirsty Ear) was as good as he's ever heard Rainey recorded. The disc is a live recording of Berne's Science Friction band, which includes longtime collaborators Craig Taborn on keyboards and Marc Ducret on guitar. On it, among several other tracks, is a song called "The Shell Game," which was the title of Berne's previous release (with Taborn and Rainey), though not the title of any of the tracks on that release.

The piece incorporates elements from a few of the songs on The Shell Game (most closely approximating "Twisted/Straight Jacket"), but there's a lot more going on explicitly in terms of harmony than there was on the disc of the same name, mainly because of the addition of another harmonic instrument in the guitar. But Rainey's reactions to the differences could have been simplistic. He could have just sat back and outlined where the music was going, or went on its original versions, trying not to crowd out the sound with too much playing. And at some points this is what he does. He lets Taborn and Ducret play off of Berne's melodies with only the slightest of rhythmic accents behind them. But then Ducret takes off on a pyrotechnic solo and Rainey grooves hard with Taborn behind it. As the solo evolves, Rainey takes a more active role, varying his beats to keep Ducret's playing sounding like it's unfolding, as opposed to stagnating, as it might have had Rainey just sat in the same groove.

And then Rainey's solo, which follows a return, more or less, to the head, accomplishes in its evolution precisely what Berne said makes Rainey's solos so good: "His solos are always very transitional, from what's happening before to what's happening next. It sounds easy, but with most people, the solo's the shit and maybe the last ten seconds or so are setting up what's happening next."

Taking that one step further, Rainey doesn't just have a mastery of transitions of time; he also is adept at transitioning between any one part of the drum set and another. On Tony Malaby's recent release Apparitions (Songlines, 2003), Rainey is one of two drummers. Rather than antagonizing each other or getting bogged down in headcutting, however, he and Michael Sarin begin to sound like one drumset. A shared solo finds them following each other around their two drum sets, moving with a rare sympathy, even though Rainey said that he was at first skeptical about the idea of doing an album with two drummers.

It is this kind of adaptability that makes Rainey so good. He can internalize a piece of music in any situation and leave his mark on it.

"Everybody I've ever worked with, there's been areas that I've avoided just 'cause it wasn't the best situation for that person or for the combination or whatever," Berne said. "But I can't say with Tom that there's anything I really avoid."






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