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Paul Bley Trio:
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Reissuing two essential and innovative piano trio albums: Paul Bley Trio's 1965 album Touching with Bley on piano, Kent Carter on double bass and Barry Altschul on drums, plus the title track from the 1966 Bley album Blood with Altschul and Mark Levinson taking the double bass roll, performing compositions by Paul Bley, Carla Bley and Annette Peacock. ... Click to View


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The productive and excellent work of Norwegian rock band Motorpsycho, releasing an album a year for 30+ years, continues with this superb example of long form and diverse approaches to the rock medium, the core trio of Saether (bass, vocals, mellotron, &c), Hans Magnus Ryan (guitar, sax, vocals) and Tomas Jarmyr (drums) extended by Reine Fiske on guitar and Ola Kvernberg on percussion. ... Click to View


Motorpsycho:
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The productive and excellent work of Norwegian rock band Motorpsycho, releasing an album a year for 30+ years, continues with this superb example of long form and diverse approaches to the rock medium, the core trio of Saether (bass, vocals, mellotron, &c), Hans Magnus Ryan (guitar, sax, vocals) and Tomas Jarmyr (drums) extended by Reine Fiske on guitar and Ola Kvernberg on percussion. ... Click to View


Squid:
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Hedvig Mollestad Trio:
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Guillermo Gregorio / Damon Smith / Jerome Bryerton:
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Innanen / Pasborg / Piromalli:
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IKB:
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Michael Sarian / Matthew Putman:
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Joel Futterman / Ike Levin:
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Ian Power:
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Courvoisier / Rothenberg / Sartorius:
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Cortex (Hoyer / Nilssen / Alberts / Johansson):
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Seriously joyful and consequential "avant-garde party music" from the Norwegian Cortex quartet of Ola Hoyer on double bass, Gard Nilssen on drums & percussion, Kristoffer Berre Alberts on saxophone, and Thomas Johansson on trumpet, in their 6th album of irresistible, upbeat free jazz. ... Click to View


Dominique Pifarely Quartet (w/ Rayon / Chevillon / Merville):
Nocturnes (Clean Feed)

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Jonas Cambien Trio (w / Roligheten / Wildhagen):
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Cleverly complex yet melodically embraceable, the trio of Beligan pianist residing in Norway, Jonas Cambien's trio with Andre Rolighete on tenor and soprano saxophone and drummer Andreas Wildhagen perform eleven original Cambien compositions, a mix of astute, joyful and irrepressibly creative approaches to jazz and free improvisation. ... Click to View


Hearth (Silva / Rasmussen / Rave / Draksler):
Melt (Clean Feed)

Meeting for the 1st time at the 2016 October Meeting in Holland, the quartet performance there of Susana Santos Silva on trumpet, Mette Rasmussen on alto sax, Ada Rave on tenor sax & clarinet and Kaja Draksler on piano, inspired the formation of Hearth to develop soundscapes focusing on moods and textures, as heard in these six rich, explorative collective improvisations. ... Click to View


Andre Fernandes (w/ Sambeat / Campos / Heliodoro / Pereira):
Kinetic [VINYL] (Clean Feed)

Active Lisbon guitarist and producer André Fernandes formed the band Kinetic to perform the lyrically upbeat and sophisticated works of composers he admires--David Binney, Ohad Talmor, Akiko Pavolka, Sara Serpa, Perico Sambeat and Xan Campos--in a band that includes saxophonist Sambeat and pianist Campos, along with bassist Frederico Heliodoro and drummer João Pereira. ... Click to View



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  Paul Lytton 
  ?!  
  (Pleasure of the Text) 


  
   review by Jeph Jerman
  2016-04-11
Paul Lytton: ?! (Pleasure of the Text)

Lytton's name should be familiar to anyone who's followed the winding history of Improvised music. Perhaps best known for his duo recordings with Evan Parker in the 1970's, his body of work is voluminous and his multi-limbed, free-wheeling approach to drumming has influenced several generations of tub thumpers. He was there at "the beginning", so to speak, and this is his first solo recording in over 30 years (the first being The Inclined Stick from 1979).

As with all of his recorded work, ?! displays equal amounts of quick wit and constant sonic shift. Here however, we have Lytton all to ourselves, so to speak. The recordings are clean and gorgeous, allowing an appreciation of the myriad timbral and textural variations. There is much humor apparent, and this alongside the mind-boggling changes will reward your attention.

There's no indication of whether all this stuff was played in real time or if overdubbing was utilized, and I suppose that's a whole 'nother kettle of fish. Really. It's fun to just sit back and let the sound happen. Metallic scrape and clang, muted lightening-quick drumming, wooden clack and ratchet, paper crinkle, string twang and buzz and the occasional animal sound all spring out at you. The very beginning of "Ars Est Celare Artem!" (the art is to conceal art) sounds like a horn, but it might be feedback. Squeak and spring feature heavily for the first 3 minutes or so, and then things get sparser, scrap pile meets Louis Armstrong with a hand full of drum sticks before ratcheting back up in speed and density. Stuff happens so fast it's difficult to describe.

You may be tempted to gaze at the one color photo included and try to discern which of those objects is making what sound and what was he doing to achieve it. Hey! I have an egg-slicer just like that!



Paul Lytton: ?!
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