Though there are only two tracks currently available to listen to on this album, Frukstrakt, a new ethno-jazz album by Polish bassist Michał Aftyka and his quintet is as cool as anything ECM Records has released that would qualify as Nordic jazz.
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Ulaan Passerine is one of many aliases used by Los Angeles-based guitarist Steven R. Smith. This latest album is a shimmery walk into guitar instrumental territory. Smith produces an elegant kind of instrumental music that would sit well with both post-rock fans and those into a more mellow psychedelic vibe. Think along the terms of the band Oregon as a reference. Not ‘easy’ listening, but ‘gentle’ listening. Well done.
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American pianist and psychiatrist Denny Zeitlin has a body of work that is second to none, including winning several jazz awards and scoring films like Invasion of the Body Snatchers, but this album was hidden away at Zeitlin’s insistence, which is a shame, as it blends avant-jazz, funk, rock and some works that would feel comfortably familiar to fans of Frank Zappa. It’s a weird, but rewarding, disc, and it’s such a treat to see that Zeitlin finally relented to its release.
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The avant-garde music scene lost an incredible talent in the form of Jaimie Branch, who passed away on August 22nd at the age of 39. The blog’s friend, Noël Akchoté offers a lovely tribute album by transcribing the trumpeter’s work into works for solo acoustic guitar. It’s a raw album even by improv standards.
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Cuneiform Records offered this album as a half-price release this weekend, and though I already had the album, I thought it would be good to note what an amazing album this was back in its prime. Birdsongs of the Mesozoic are a band from Boston, Massachussets who have been active for well over 40 years now, and are perhaps America’s best representative of avant-progressive rock, having no difficulty straddling the lines of aggressive prog rock with classical music, much like their European contemporaries Art Zoyd and Univers Zero, among others.
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What a remarkable work this is. The Hauchzart Ensemble includes our dear colleague Wilfried Hanrath, who plays guitar, bass, drums, beats, synth and electronics on this album, along with Matt Getchell, who also provides electronics, synthesizer and beats. This album takes quite a journey, starting off with a track that, if you can believe it, reminded me of the better aspects of bands like Michael Cretu’s seminal electro-pop band Enigma. It sounded like a very accessible piece of electronic pop, which was a good start, but then the musicians started to really surprise me with elements of bands like Tuxedomoon…
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Anna Michaels is not the Toni Morrison-kind of poet I can’t get into. Rather, she has the power of a street storyteller, the sort of person who you can engage at a New York or Los Angeles coffee shop talking about her experiences across the world, her observations of American life both as a local and a foreigner in some sense, and at her best, her words can be rather spellbinding. She is the sort of person I would utterly enjoy a coffee with. It’s quite a treat to know that she has paired up with Yordan Kostov’s band, one…
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I’ve been looking forward to hearing Selen Gülün’s latest release, and to say I’m not disappointed would be an understatement. I had spent the day listening to John Cage after lunching with my priest, and then this record came on. The first track, Ah, Tu Dici!, blended into Cage’s Three Easy Pieces as naturally as could be, though Selen’s track is both better recorded and slightly darker, which makes it that much more favorable to my ears. The second track, Cicli E Punti, lets saxophonist Dario Fariello and cellist Stellan Veloce run wild. I’d expect this sort of improvisation on…
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Russia has a pretty remarkable history with jazz. Even during the Soviet times, everything from Dixieland to hard bop was represented rather well, and free jazz is no exception. Der Finger are the trio of Anton Efimov (bass), Evgenia Sivkova (drums & saxophone) and Edward Sivkov (bass clarinet, saxophone and bass-domra). They make a racket (and that is meant in a good way) that is indeed free and open, and almost borders on Industrial music in parts. Good listening.
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The French band Ghost Rhythms live up to their name. The beats are pretty wild on this one. This release sets between avant-progressive, Canterbury, and some of the freakier excursions of late-period King Crimson. Perhaps Samla Mammas Manna and their side-projects could also make good reference points. Very engaging listening, especially if you like time changes.