James Ilgenfritz – “You Scream A Rapid Language” (infrequent seams, 2019)

“You Scream A Rapid Language” is based on different combos, instrumentation and the basics of contemporary academical music. An album consists of individual pieces recorded by different musicians – it’s “Terminal Affirmative” (Pauline Kim Harris – violin; Alex Cohen – double-pedal bass drum), “Apophenia III: The Index” (Jennifer Choi – violin; James Moore – guitar; Kathleen Supové – piano), “How To Talk To Your Children About Not Looking At The Eclipse” (Margaret Lancaster – flute), “Apophenia IV: A Bell In Every Finger” (Poetry about Cecil Taylor and Muhal Richard Abrams by Steve Dalachinsky; William Winant – percussion; Joseph Kubera – piano; Thomas Buckner – baritone; James Ilgenfritz – contrabass) and “Fanfares For Modest Accomplishments I-V”
(Pauline Kim Harris, Conrad Harris – violins).

Each composition of “You Scream A Rapid Language” is individual, bright and exciting. The musicians are using wide range of playing techniques, expressions, moods and ornaments to create an innovative and rich sound. All music is completely based on free improvisation and contemporary academical music – the evocative, bright and fresh ideas, modern innovations of experimental and contemporary academical music are brought together with impressive free improvisations. “Terminal Affirmative” is written for violin and double-pedal bass drum. Violinist Pauline Kim Harris and drummer Alex Cohen succesfully create a suggestive and driving sound. Shrieky tunes, loud exclamations, hysteric riffs, vital moving thrills, remarkable melodies and dynamic rhythmic section are joined together. Deep bass line, monotonous rhythms, repetitive series going straight to wild culminations, booming sessions, driving solos and impressive free improvisations – that’s the base of the rhythmic section. An interesting combo of violin and drums is made here – both musicians are experimentating on various fields of musical language, especially on rhythmic, sonoristic and instrumental section. “Apophenia III: The Index” is for a trio – piano, guitar and violin. Violinist Jennifer Choi is balancing between impressive riffs, breaking sessions, repetitive series, solemn minimalistic samples, relaxing contemplations, shrieky tunes, virageous transcendental passages, animated glissando and expressive melodies. That finally makes an effort to bright and evocative musical pattern and melody line of this composition. Guitar by James Moore is a source of extravagant ideas and radical decisions. Modern expressions, tremendous culminations, passionate thrills, breaking sessions, sonoristic experiments and expansion of technical abilities – all these elements contain the main base of James Moore’s playing. Terrific melodies, passionate thrills, sharp persecuting sequences, aggressive hysteric mood contrasting to solemn and relaxing contemplations, minimalistic samples, sonoristic experiments and calm pieces – that’s the base of Kathleen Supové piano melodies. A nice, flying and cordial ambience is created in “How To Talk To Your Children About Not Looking At The Eclipse” for solo flute. Sweet lullabies, contemplative meditations, monotnous series, deep calm tunes which going straight to forcing culminations with persecuting shrieky sessions, hysteric tunes and expressive melodies – Margaret Lancaster does her best to create an original, evocative and bright piece of contemporary academical music. “Apophenia IV: A Bell In Every Finger” is a mix of poetry, recitations, excellent vocalisation and interesting instrumental combos. Piano, percussion, baritone and contrabass make a great combo together – expressive driving piano by Joseph Kubera is the key of melody line, colorful and dynamic percussion by William Winant contain a rich and independent rhythmic section, recitations and vocals filled with sonoristic experiments is made by Thomas Buckner. Deep, solemn, ambient and repetitive contrabass is keeping a stable bass line and also is the source of strange timbres, special effects and sonoristic experiments. Innovative vocalisation, effective recitations, exclusive instrumental section and bright musical pattern contain the basics of this composition. The last composition “Fanfares For Modest Accomplishments I-V” for two violins is filled with evocative ideas, dynamic turns and bright contrasts. Pauline Kim Harris and Conrad Harris are expressing wide range of emotions – their music is twisting and dynamic. From sharp, aggressive and dynamic it gets calm and relaxing, passionate and light, luminous, rigorous and frantic, perturbating and evocative. The music is completely based on the main tendencies of contemporary academical music, free improvisation and avant-garde jazz. All music of this album has an expressive, vital and innovative sound.


Phren ‎– “Duos Auf Präparierten Instrumenten = Duos On Prepared Instruments” (Edition Telemark, 2019)

A contemporary academical and experimental music always is filled with innovative ideas, evocative, creative or radical decisions and unique sound. The combos of prepared and acoustic instruments reveal us the secrets of these two different types of instruments – natural, light and sensible acoustics are brought together with synthetic and modern prepared instruments. The compositions for only prepared instruments are interesting and innovative – here the musicians have an opportunity to express and research wide range of abilities and different kinds of tunes produced only by prepared instruments. Inge Salcher (prepared flugelhorn) and Carmen Nagel-Berninger (prepared viola) are the masters of their art – they are famous musicians of contemporary academical and experimental music scene. All their music is completely based on the main tendencies of contemporary academical music – musicians don’t stick up to the rules and conventions. They’re trying to research something new and exciting – strange timbres, extended playing techniques, wide technical abilities of prepared instruments and sonoristic experiments are their main priorities.

“Duos Auf Präparierten Instrumenten = Duos On Prepared Instruments” is a mix of colors, moods, different styles and expressions. Both musicians are exploring new fields of musical language – they’re experimentating on timbral, sonoristic and instrumental sections. Fresh tunes, evocative ideas, passionate and luminous culminations, ambient tunes, strange timbres and research of new ways of playing are their main priorities. All music is completely based on contemporary academical and experimental music. The main tendencies, traditions, modern innovations and original decisions are brought together. All kinds of expressions, moods, characters, playing techniques and ornaments are used here to illustrate whole musical pattern. The music is dynamic and emotional – sometimes it’s silent, sophisticated and calm, or gets on sudden attacks, bright melodies, perturbating riffs and hysteric angry solos. Prepared viola by Carmen Nagel-Berninger is the source of rich, bright and expressive sound. A musician moves through different moods and ambiences – synth tunes, strange timbres, coloristics of all ranges illustrate deep and monotonous solos, repetitive series, rough, tight, light or gorgeous timbres, contemplative sophistications played in lyrical and relaxing mood are connected to its opposite – bright culminations, passionate thrills, evocative ideas, shrieky wainings, persecuting loud tunes, expressive melodies tinged with impressive passages. Carmen Nagel-Berninger is exploring new fields of musical language – it’s modern, bright, filled with huge variety of styles, timbres and expressions. Viola brings solemn, deep and dynamic sound played in new and exclusive way which is completely based on modern tendencies of contemporary academical music, innovative and extended playing techniques. Remarkable, light and clair sound is brought in by prepared flugelhorn. Inge Salcher explores wide technical abilities of flugelhorn. Along with expressive melodies and remarkable riffs, the music is full of strange timbres, shrieks, cracks, growls, coloristics of all ranges and gorgeous ornaments. Inge Salcher likes to twist together uncompairable and contrasting pieces into organic and multi-layed combo. The compositions have an innovative instrumentation – rare combos, eclectic allusions, extended and innovative playing techniques, sonoristic experiments are the main compounds of it. The music has inspiring, rich and evocative sound.

Big Bad Brötzmann Quintet ‎– “Karacho!” (Euphorium Records, 2019)

Peter Brotzmann (Tárogató [Tarogato], Tenor Saxophone, Clarinet), Oliver Shwerdt (Grand Piano, Percussion, Instruments [Little Instruments]), Christian Lillinger (Drums, Cymbal [Cymbals], Percussion), John Eckhardt (double bass) and John Edwards (double bass) are the members of “Big Bad Brötzmann Quintet”. The music of quintet is always evocative and bright, based on synthesis of European and American avant-garde jazz streams and their main basics. The improvisers are the stars of avant-garde jazz scene – they had already developped their own and original sound, brand new conception and innovative way of improvising many years ago. Together they always demonstrate the best capacities of improvising, original playing techniques and driving style.

“Karacho!” is the newest release of “Big Bad Brötzmann Quintet”. Astonishing, driving and passionate sound is created in all compositions. The music is recorded by the masters of improvising – telephatic collaboration and masterful corresponding to each other’s playing makes an effort to bright, free and impressive collective improvisations. Splendid virtuosity, dynamic changes, driving riffs, rigorous blow outs and bright contrasts are the main compounds of the compositions. An open form and free improvisation, as well as the basics of avant-garde jazz, contain the fundaments of stylistic variety and structure of the compositions. Exotic and expressive tarogato, tenor saxophone and clarinet by Peter Brotzmann become the keys of independent and exciting melody line. Peter Brotzmann is demonstrating his own and original style – filled with drive, radiant bursts of energy, extremely loud, rigorous and perturbating blow outs and expressive melodies. Bright sparkling riffs, transcendental passages, luminous driving melodies accompagnied by striking thrills, sharp growls, aggressive noisy shrieks, hysteric wainings and astonishing sonoristic experiments – Peter Brotzmann succesfully blends all these elements together and creates an impressive and tremendous improvisations played in driving style, expressive manner and active bright mood. These melodies bring a tremendous, driving and passionate sound to whole album and dictate the main mood of melody line. Noisy, rigorous, bright and luminous piano tinged with percussion, objects and various types of instruments brings dramatic, passionate and dynamic mood. Oliver Shwerdt is moderating wide range of chords, expressions and moods to create an effective sound – vital, energetic and expressive piano is filled with vital melodies, driving solos, sudden attacks, striking riffs, radiant perturbations, breaking sessions, sharp persecuting sequences and strange timbres joined with colorful percussion, ornaments and passages of all kinds. Elegant, light and vital sound suddenly gets rough, frantic and hysteric, sometimes – angry, furious, wild, perturbating or sophisticated, solemn and calm. Pianist expresses all kinds of moods and expressions – that makes the music expressive, vivid and dynamic. Both double bass players – John Eckhardt and John Edwards – are creating a rich variety of sounds and expressions. A mix of ambient tunes, modest, solemn, sophisticated and lyrical solos played in contemplative and dreamy mood are connected to exciting strikes, wild riffs, stormy perturbations, long persecutions of timbres, rhythms and sounds, bursting energy’s explosions and suggestive free improvisations. Both improvisers are using their virtuosity, drive, passion and creativity to create an expressive, interesting and bright sound. Complicated bebop, expressive nervous post bop, aggressive, sharp and beating hard bop back to repetitive series, steady beats, lonely tunes rising to extremely loud riffs, sensible trills, roaring rolls, perturbations, persecuting furious sessions, driving solos and impressive free improvisations – all these elements are brought together to individual and evocative rhythmic section created by Christian Lillinger. The music of this album has an inspiring, driving and expressive sound.

Erin Rogers – “Dawntreader” (Relative Pitch Records, 2019)

Erin Rogers is a Canadian and American composer, improviser and saxophonist. Her music is completely based on experimental music, free improvisation and avant-garde jazz. A saxophonist likes to expand the technical abilities of her instruments, create wide and organic stylistic variety – her works explore the synthesis of chamber music, sound alchemy, and theatre, balancing between  acoustic and electronics. The music is moving between free improvisation and arranged composing, impressive riffs and silent pauses, ambient tunes in haunted and abandonned mood changed suddenly by tremendous culminations and passionate riffs. Erin Rogerss always developpes her very own sound, brand new conception of music and innovative point of view. Her works were presented in numerous of festivals and the tours on world-wide scene of contemporary academical music. Erin Rogers has played with the “International Contemporary Ensemble”, “Talea”, “Copland House”, and “wildUp”, and is co-artistic director of the experimental performance ensembles: “thingNY”, “New Thread Saxophone Quartet”, “Hypercube”, and “Popebama”.

“Dawntreader” is a debut solo album recorded and performed by Erin Rogers. Saxophonist is demonstrating the best capacities of playing and improvising. She explores new fields of musical language – synthesized and natural tunes, open and classical forms, extended and traditional ways of playing, brand new conception of improvising, sonoristic experiments, simple and especially difficult musical language, polyphony and homophony are gently brought together in authentic and sensible way. The music is passionate, eclectic and twisting. The contrasts between different pieces are joined together – that makes an effective, dynamic and twisting sound. By using wide range of forms, playing techniques and moods, saxophonist is trying to get out of the traditional comfort’s zone of sound. Erin Rogers is passing through silent ascetic tunes to deep silence, solemn tight tunes to monotonous minimalistic samples played in soft and relaxing mood. These episodes have simple and effective musical language, relaxing sound and calm mood. A saxophonist dives frequently in lyrical contemplations or researches of strange and evocative tunes. All wide range of textures and timbres expressed here – from tight, deep, tough, pressured to noisy, hysteric, shrieky, waining, growling, urgling and sharp. Sometimes the music is more similar to relaxing lullaby or dreamy peaceful interpretation – it has meditative and suggestive sound. When saxophonist gets suddenly on wild culminations with rising attacks, sparkling riffs and roaring blow outs. These episodes are played in active and expressive mood. Expressive and vital melodies tinged with shrieky tunes, sharp timbres, noisy exclamations, hysteric riffs, passionate and tremendous solos, breaking sessions, terrific perturbations, tiny ornaments, extremely loud storms of sounds, tiny ornaments and astonishing passages – an impressive variety of sounds, tunes and colors is created. Erin Rogers shows her capacities of playing – she demonstrates an impressive virtuosity, the best sound quality and driving playing technique. The main playing techniques of modern academical music, electronics and experimental music are brought together with traditional, home-made, original and inventive ways of playing. A saxophonist manages to create an exclusive sound by using her creativity, talent and virtuosity.

Pat Thomas, Dominic Lash, Tony Orrell – “BleySchool” (577 Records, 2019)

Pianist Pat Thomas, double bass player Dominic Lash and drummer Tony Orrell are hreat improvisers and the experimentators of experimental jazz and contemporary academical music. Pat Thomas forms his music on the fundaments of avant-garde jazz – bebop, post bop, hard bop, contemporary and modern jazz styles are brought together with free improvisations, spontaneous solos and the basics of experimental jazz. An improviser has a driving expressive playing manner, inspiring style and unique sound. Dominic Lash is the star of contemporary academical and experimental music scene, and free improvisation and avant-garde jazz, as well. Bassist knows the best way how to combine together the main tendencies of experimental music and academic avant-garde with fresh, bright and evocative ideas of experimental jazz. Tony Orrell’s music is totally based on free improvisation and avant-garde jazz. Here’s many stylistic allusions to other styles and genres – contemporary academical music, sonoristic experiments, modern jazz styles and other elements. His music is bright, driving and passionate.

All three jazz masters gathered together to improvise in their newest release “BleySchool”. The compositions of this album are based on synthesis of avant-garde jazz and contemporary academical music. Free collective improvisation and open form is used in each composition – all three musicians sensibly correspond to each other’s playing and manage to create an exclusive and interesting sound. They create a difficult and multi-layed structure of the compositions – rich instrumental section filled with evocative ideas, gorgeous ornaments, extended, specific or home-made playing techniques is connected to independent melody line, gorgeous background and dynamic rhythmic section. Original, brand new and creative ways of playing are used together with the main tendencies of contemporary academical and experimental music. Piano tunes by Pat Thomas is the key of the compositions – it dictates the main mood, forms a dynamic, bright and sparkling melody line and dynamic variety of moods, expressions and ornaments. Pat Thomas is balancing between free improvisation, contemporary, modern and some elements of traditional jazz. All forms of different jazz styles are brought together – complicated expressive solos are tinged with gentle, elegant, tiny and dizzy passages, bright melodies with dynamic rhythms and series, instant improvising and spontaneous solos. Calm, relaxing and peaceful episodes with soft consonances suddenly meet hysteric, terrific, angry, wild and tremendous riffs blended with sharp chords, aggressive sessions and nervous solos. Wide range of colors, tunes and emotions is expressed here – pianist manages to fuse them together and make an astonishing and dynamic sound. Sometimes his music is pleasant, cool and cosy – it’s related to traditional jazz, cool or any other modern jazz style. When suddenly it gets furious, perturbating, nervous, hysteric or energetic – from monotonous rhythms and slow contemplations pianist bursts in marvelous glissando, dizzy transcendental passages and complicated rhythms. Double bass player Dominic Lash makes a perfeęct combo of free improvisation, arranged composing, basics of avant-garde jazz and contemporary academical music. His music is balancing between different kinds of moods and styles – from strictly composed and innovative contemporary academical music to bright, instant and spontaneous improvisations, that’s how it’s possible to describe Dominic Lash’s music. Silent pauses, deep and heavy ambience, ambient tunes, imitations and alterations, tight and straight bass line, dreamy contemplations which suddenly grow out to active and dynamic solos, expressive melodies tinged with tiny ornaments, dizzy passages and gorgeous timbres – bassist is blending together spontaneous impressive free improvisations and the main tendencies of experimental music and academic avant-garde. Strange timbres, frottings, clappings, wide range of colorful percussion’s elements and rhythms related to various modern and avant-garde jazz styles – that’s the base of rhythmic section masterfully created by Tony Orrell. A drummer demonstrates his masterful virtuosity, creativity and innovative point of view – interesting combos, timbres and expressions are brought together. The music is played in dynamic and expressive mood – breaking sessions, soft gentle pieces, steady beats, impressive riffs, wild culminations, driving solos with complicated rhythms or hysteric rolls are gently brought together. That makes an effort to dynamic, driving and passionate sound.

Schiaffini/Pacorig/Maier/Furlan – “4G rate” (Klopotec, 2019)


“4G rate” is a new release of “Klopotec” label. Four great jazz masters recorded this album – it’s Giancarlo Schiaffini (trombone), Giorgio Pacorig (Fender Rhodes), Giovanni Maier (double bass) and Gal Furlan (drums). Splendid playing technique, the best sound quality, masterful virtuosity, inventive decisions, inspiring and driving playing manner and expressive style – these are the main compounds of these compositions. The improvisers are the central figures of avant-garde jazz scene – they had already developped their own sounds, original playing style and effective playing manner.

“4G rate” has expressive and dynamic sound. Each improviser is getting on brave and dramatic culminations, wild attacks, passionate riffs and radical decisions. They don’t hesitate to make intriguing turns, extended or home-made playing techniques, astonishing sonoristic experiments and inventive ideas. A difficult and multi-layed musical pattern is created – it has a luminous, adventurous and passionate melody line, breaking rhythmic section, gorgeous background and expressive harmony line. Giancarlo Schiaffini is a talented trombone player. All his music is based on free improvisation, sonoristic experiments and the basics of avant-garde jazz. Perturbating riffs, wild culminations, shrieky exclamations, hot growls, explosing thrills, roaring blow outs and strange timbres are the main compounds of his music. An improviser is balancing between different moods and styles. From shrieky bright tunes, wild culminations, passionate riffs, expressive melodies and turbulent sessions the music gets relaxing, soft and solemn. Sometimes it gets dark, abandonned and haunted made by repetitive series and monotonous tunes. The contrasts between solemn and contemplative tunes and perturbating culminations, dramatic riffs and cracking solos are strongly expressed. Trombone is the key of melody line. Fender Rhodes by Giorgio Pacorig brings active and dynamic tunes. Giorgio Pacorig has a remarkable and expressive playing manner. Sharp tunes correspond to impressive riffs, glimpsy flowing glissando, transcendental passages, breaking sessions and passionate solos – it created a vital remarkable and expressive sound. Tremendous culminations to silent pauses, relaxing contemplations rising to wild attacks and dramatic riffs – Giorgio Pacorig’s music is based on free improvisation and avant-garde jazz mixed together with hysteric hard bop, exclaiming and expressive bebop, complicated post bop and other modern jazz styles. Double bass keeps the main bass line – here’s monotonous tunes, repetitive series, sonoristic experiments, strange timbres and minimalistic samples gently brought together. These episodes are connected to glamorous riffs, charming melodies, tremendous stormy culminations, struggling solos and dizzy passages. Giovanni Maier is using his own playing style, brand new conception of avant-garde jazz and masterful virtuosity to make a remarkable and bright sound. A perturbating and bright rhythmic section is created by Gal Furlan. All rhythms of bebop, post bop, hard bop, cool and other modern jazz styles are connected to steady beats, breaking sessions and impressive tremendous improvisations. Gal Furlan succesfully creates an expressive, energetic, dynamic and moving rhythmic section.

Jeb Bishop/Matthias Muche – “Duo” (Creative Sources Records, 2019)

Two trombonists, improvisers and experimentators of international avant-garde jazz scene had recorded “Duo” – it’s Jeb Bishop and Matthias Muche. Both musicians are famous members of experimental jazz scene – they’re the central figures of avant-garde jazz for many years now. The music played by these musicians always is filled with joy, passion and the will to create something new. Here meets drive, expression, evocative ideas, crazy, provocative and radical decisions, extended playing techniques, sonoristic experiments. Intriguing decisions and sudden turns are everywhere – the musicians are using their virtuosity and creativity to make an exceptional and expressive sound.

“Duo” is completely based on free improvisation and avant-garde jazz. American avant-garde jazz and roots of 1960’s avant-garde jazz are the leading elements in stylistic variety. The musicians have their own and original sound – individual melodies, driving style and passionate playing manner makes an exciting, evocative and inspiring sound. All compositions have rich and multi-colorful pattern with original instrumentation, extended playing techniques, wide stylistic variety, dynamic rhythmic and gorgeous background. Extraction of strange timbres, expansion of technical abilities and integrating of radical and original musical decisions also are important elements. The compositions for two trombones open a wide range of moods, expressions and characters. Both musicians dive in lyrical contemplations, silent pauses, steady bass line or relaxing pieces. Here abstract free improvisations are frequently accompagnied by sonoristic experiments, strange timbres, gorgeous tunes, minimalistic samples and repetitive rhythmic series. Heavy, sophisticated and dark solos are played in lyrical mood and mid-slow or slow tempo. These episodes are suddenly rising straight to thrilling attacks, tremendous riffs and expressive melodies. Vital, bright, radiant and driving riffs are the keys of these episodes – expressive remarkable melodies, sweet glissando, roaring blow outs, active virageous passages, ornaments and timbres of all kinds are very important compounds of it. Vitality, expression and drive are against solemn, slow and meditative moods, tremendous culminations go back to silent pauses or sophisticated solos, angry growls, hot thrills or terrific explosions and bursts of energy – the contrasts and changes are everywhere. Improvisers have an excellent and sensible corresponding to each other’s playing – when the one is bursting on tremendous riffs, roaring thrills and wild culminations, another is keeping steady and tight bass line or creates a wide palette of colors and tunes to make rich musical pattern. An exclusive instrumentation is created by using rare, specific, extended and experimental playing techniques. Modern playing techniques, extravagant ways of improvising, roots and main principes of 1960’s avant-garde jazz, experimental jazz and impressive free improvisations are gently combined together with bebop, post bop, hard bop and other modern jazz styles. That makes an effort to original and intriguing sound.