Blaise Siwula, André Calvário & João Sousa – “To See Chance Again” (Nofrillsmusic, 2019)

Blaise Siwula, André Calvário & João Sousa | To See Chance Again

“To See Chance Again” was released in 2019 by “Nofrillsmusic”. An album is totally based on free improvisation and avant-garde jazz. Two different streams are combined together – European and American avant-garde jazz. Dozens of authentic and original elements related to Portugal avant-garde jazz also are integrated to the musical pattern. An album was recorded by featured jazz masters – Blaise Siwula (alto sax and clarinet), André Calvário (electric bass) and João Sousa (drums). It’s a nice collaboration of two stars of Portugal avant-garde jazz scene – André Calvário and João Sousa – and famous saxophonist Blaise Siwula. The music is twisting, surprising and driving.

The compositions of “To See Chance Again” are based on the fundaments of avant-garde and experimental jazz. There are many elements related to bebop, post bop, hard bop, contemporary and modern jazz styles, mainstream, experimental music, and academic avant-garde. Although there’s a huge stylistic variety, free improvisation and the innovations of contemporary avant-garde jazz contain the basic of it. The musicians are improvisng spontaneously – instant improvising gives the possibility to experiment, research and create an evocative sound with shocking, driving, crazy, weird or simply interesting musical decisions. The musicians don’t stick up on rules or strict conventions – they are free to research new and extended playing techniques, construct different shapes and synthesized forms, blend together absolutely uncompairable styles or moods and by this way create an astonishing and exclusive sound. Masterful virtuosity, charming inspiring playing manner, usage of extended, creative, specific, home-made or experimental ways of playing by fusing them together with modern innovations or authentic traditions – that’s the base of an innovative and interesting instrumentation which is succesfully created. The musicians are demonstrating their invention, creativity, the will to create something astonishing, surprising and new – that’s why they’re open to radical, provocative or even crazy decisions and their integration to the musical pattern. As a result, a multi-layed, colorful and universal musical pattern with expressive melody line, rich musical language, innovative instrumentation, dynamic rhythmic section and gorgeous background is created. Alto saxophone and clarinet by Blaise Siwula contain the main basic of the melody line. An improviser is going through different kinds of characters and motions – that makes an effort to driving, thrilling and inspiring sound. From deep silence, modest, light and solemn pieces played in repetitive, meditative and relaxing mood the music strikes on roaring thunders, full blasts, burning growls, explosing terrific culminations, wild and extremely fast passages, flowing ornaments accompagnied by trills, glissando, perturbating blow outs and remarkable melodies. An authentic and bright mix of moods and characters finally makes an independent, driving and luminous melody line. Some electronics, special effects and strange tunes which accompagnie all the time stable bass line, are brought in by André Calvário. His bass improvisations filled with deep tunes, repetitive series and minimalistic samples are connected with ambient, glitch, drone mixed up with remarkable melodies, bright culminations, radiant riffs, full blasts, inventive or radical decisions, risky provocations, eclectic stylistic fusions and astonishing sonoristic experiments. His music mostly is played in dynamic mood – subtle lyrical episodes are gently combined together with active, rising, flashing and driving improvisations. Drums is the rhythmic base mastered by João Sousa. The music is luminous, bright and dynamic – expressive, nervous and complicated bebop, aggressive booming hard bop, stable and steady cool, unpredictable contemporary jazz and the elements related to different styles are connected to luminous riffs, blooming culminations, sparkling solos, radiant perturbations, risky turns, exotic sounds, strange timbres, sonoristic experiments and driving breaking sessions. The music of all three jazz masters is connected to one pattern – it gets sparkling, driving and expressive sound.

Ensemble SuperMusique, Symon Henry – “Voir dans le vent…” (Ambiances Magnétiques, 2020)

“Voir dans le vent…” is a fresh new release of “Ambiances Magnétiques”. An album was recorded by “Ensemble SuperMusic”. This ensemble is famous in contemporary academical music scene which joins together great musicians, talented composer, young talents to work together. Original interpretation of new music always are filled with innovations, extended playing techniques, sonoristic experiments, authentic traditions, modern tendencies of contemporary academical music, especially bright and rich musical language, and wide range of styles, expressions and moods gently brought together. This time, an ensemble had recorded the compositions by Symon Henry. A talented and creative composer is getting on risky combinations, provocative and original musical decisions, has his very own sound and style, and is developping exciting new conception, as well. All music is based on experimental, electroacoustic and contemporary academical music combined with free improvisation and experimental jazz. That makes a dynamic, unpredictable and touching sound.

Isaiah Ceccarelli, Guido Del Fabbro, Jean Derome, Bernard Falaise, Lori Freedman, Émilie Girard-Charest, Joane Hétu, Diane Labrosse, Philippe Lauzier, Pierre-Yves Martel, Cléo Palacio-Quintin, Jean René, Danielle Palardy Roger, Vergil Sharkya’, Alexandre St-Onge, Pierre Tanguay, Martin Tétreault, Scott Thomson and Ida Toninato – these are all the members of “Ensemble SuperMusic” who are playing together in “Voir dans le vent…”. The music is based on difficult structure and rich evocative musical language. The musicians succesfully blend together all the sections to one place – an independent and bright melody line, dynamic rhythmic section, synth tunes, electronics, gorgeous musical background and innovative instrumentation. Separate independent sections are contrasting to each other and create a bright, expressive and modern musical language. The music is especially expressive and emotional – the musicians are mixing up together different kinds of motions, characters and expressions. Spontaneous turns, sudden changes, strong contrasts, masterful virtuosity, invention and the ability to switch from the one mood to another without any force – that makes an effort to flexible, expressive, sensible and effective playing manner. The music moves from the darkest pieces mixed with sorrows, anger, aggression or – ambient, subtle and relaxing mood. These episodes are filled with silent pauses, deep contemplations changed by minimalistic samples, sonoristic experiments, strange timbres and turn out to outregeous, haunted, heavy and dark mood. When suddenly the music changes – it gets striking and twisting, rises on sparkling riffs and wild culminations. Here a lyrical, solemn and relaxing playing manner is changed by intense, active and moving pplaying manner with rich ornamental texture. Here expressive melodies filled with shrieky exclamations, hysteric riffs, passionate flowing passages, intense, nervous and complicated rhythms, monotonous sessions are rising to luminous culminations, booming sessions, wild perturbations, radiant breaking riffs and scandalous pieces. The music is played in active, dynamic and expressive playing manner – different kinds of instruments are brought together. All music is based on huge stylistic variety – spontaneous free improvisation is integrated in already arranged contemporary academical music, astonishing and evocative experimental music, synthetic and modern electronics and innovations of academic avant-garde. Here meets an unconventional andevocative contemporary academical, experimental and electroacoustic music and abstract, moving and spontaneous improvisation. An innovative and bright instrumentation is created – it’s based on home-made, strange, experimental and extended playing techniques, rare and exotic instrumental combos, modern innovations, fusion of acoustics and electronics, and ornaments, abbreviations and textures of all kinds. That finally makes an inspiring, evocative and bright sound.

 

Paul Lytton, Joker Nies, Richard Scott, Georg Wissel – “Do they do those in Red?” (Sound Anatomy, 2020)

“Do they do those in Red?” was recorded by Paul Lytton (table-top bits and pieces), Joker Nies (electrosapiens), Richard Scott (synthesizer) and Georg Wissel (prepared saxophone). Four great jazz musicians are central figures of experimental music and avant-garde jazz scene. They integrate innovative and evocative ideas, create extended and extravagant playing techniques and combine all these elements together with free improvisation, traditions, the main tendencies of experimental music, sonoristic experiments and the basics of avant-garde jazz. The musicians are open to new ideas, radical and provocative decisions, interesting forms and shapes, and the creation of wide, universal and luminous range of styles, expressions, moods and characters, as well. Their music is based on new conception, inspiring style, is a fusion of avant-garde jazz, experimental music and electronics.

Prepared saxophone by Georg Wissel is the key of the melody line highly contradicting to wide range of electronics, special effects and sonoristic experiments. “Do they do those in Red?” consists the compositions which have a difficult multi-layed structure, universal pattern and expressive musical language. As it was mentionned before, the music is an artsy and organic fusion of electronics and avant-garde jazz. A free improvisation and open form are the main leading elements of each composition. That makes a possibility to improvise without any frames or strict conventions, experiment on various sections and get out of the traditional comfort’s zone of sound. The music is contrasting and bright – acoustics and electronics are the fundaments of the musical pattern and instrumental section which is based on experimental, specific and extended playing techniques blended with glitch, drone, ambient, in-puts, amplifications, sound machine’s experiments, computer and electronic devices sounds, special effects, sonoristic experiments, strange tunes and object’s sounds, same as abbreviations, ornaments, trills, glissando, flowing passages, as well. Prepared saxophone dictates the main mood of album. Sometimes it’s – bright, explosing and expressive. When it gets radical, frantic, aggressive and scandalous – full blasts of energy, radiant explosions, terrific roaring riffs, hot growls, urglings, wainings, shrieky persecuting series and breaking sessions are brought together to create an active, nervous, sometimes – scandalous and tremendous mood. The intensivity, moving and thrilling sound are contrasting to ambient, repetitive series, minimalistic samples which bring meditative, relaxing, lyrical and contemplative mood. Here’s a nice combo of sonoristic experiments, huge range of electronics and solemn saxophone’s tunes is made. Sweet, light and remarkable saxophone suddenly goes down and gets haunted, dark, depressed, monotonous and heavy. It doesn’t stay long at this mood – after a while the music turns out to twinkling riffs, flowing passages, expressive pieces tinged with elegant ornaments, tiny trills and fragile pieces. All kinds of different expressions and playing techniques are used here along with electronics – strange timbres, mood’s changes, variety of characters, emotions and expressions make an inspiring, interesting and bright saxophone’s sound. The electronics are masterfully mastered by Richard Scott and Joker Nies – that makes a modern, bright and extravagant sound and gently fit together with table top bits and pieces by Paul Lytton. Monotonous beats, tappings, warm natural sound against synthetic and unusual electronics – by mixing together electronics, the basics of electroacoustic and experimental music, free improvisation and experimental jazz, the musicians manage to create an innovative and interesting sound.

Bucher/Tan/Countryman ‎– “Empathy” (FMR, 2019)

“Empathy” is a great collaboration of three jazz masters who are the central figures and active members of avant-garde jazz scene. All music of this album was recorded by saxophonist Rick Countryman, bassist Deep stabl and drummer Christian Bucher. Development of new, exciting, extended and original ways of playing, brand new conception of avant-garde jazz, the will to experiment, research and create something new and inspiring – all these main elements join together three great improvisers. All three of them are dedicated to use radical and provocative decisions, to balance between various moods, integrate millions of interesting characters, modern expressions and innovations to the musical pattern. Their music is totally based on avant-garde jazz – abstract, spontaneous and bright free improvisation is the leading element of their music. That makes an surprising, eclectic, vital, expressive and dynamic sound.

The music of “Empathy” has all the main basics of avant-garde jazz and free improvisation. A rich and expressive musical language is filled with surprising virages, sparkling riffs, instant improvisations, spontaneous solos and dozens of expressions, motions, and characters. Polyphonic, multi-layed and colorful – that’s how we call the main musical pattern based on bright and eclectic musical material. The compositions have a difficult structure and innovative instrumentation – extended, experimental, specific and traditional ways of playing are brought together and gorgeously illustrated with tiny ornaments, flowing passages and glissando, hot growls, strange timbres, sonoristic experiments, abbreviations, changing tempos and other elements of musical languages which create an ornamental and rich background. Growling, moving and bursting saxophone is the soul of the compositions and the leading instrument of the melody line, as well. Rick Countryman is demonstrating fantastic virtuosity and creativity – his cordial, expressive, moving and inspiring playing manner is joined with wide stylistic variety, sudden changes, experimental ways of playing and inventive musical decisions. That’s why his music is a mix of contrasting pieces gently brought all together – from silent, dreamy, soft and gentle pieces music transforms to meditative and contemplative mood accompagnied by repetitive series and lonely tunes, or gets dark, solemn and heavy. Suddenly there the culmination comes – bursting riffs, rushing flashes, terrific full blasts of energy, expressive sparkling melodies all mixed up with transcendental passages, vital changes, virageous twists, frantic, angry, hysteric or scandalous pieces. These episodes are played in active and moving mood which frequently gets annoying, sharp, frantic, furious or rigorous. Sometimes the music turns out to flying, light, childish or playful mood expressed with lightness, brightness and expression. There are so changes in the musical pattern, that it’s impossible to predict there the music is going to turn next. Bebop, post bop, hard bop, neo bop, contemporary and mainstream jazz, free improvisation and the fundaments of experimental jazz are brought together in saxophone’s music which has inspiring, suggestive and driving sound. Deep stable bass line formed from tight and repetitive rhythmic figures and series is connected to soft dreamy lullabies, abstract minimalistic samples played in meditative and subtle mood and growing out to monumental and extremely loud culminations – that’s the base of the bass improvisations. Simon Tan is experimenting on sonoristic and timbral section – he’s integrating, home-made, specific, radical and weird musical decisions all together with extended and modern playing techniques related to contemporary academical music. An ambience filled with radiance, terrific bursts, luminous solos, driving riffs, breaking sessions, wild perturbations and tremendous melodies contain the main basic of culminations played in active and dynamic mood. These episodes are contrasting to silent, solemn, deep, heavy, sometimes – depressive and haunted – pieces played in lyrical and meditative mood which also is very suggestive and touching. An independent rhythmic section gently fits together to charming and expressive melody line. Here full blasts, radiant culminations, breaking sessions, persecuting driving riffs, passionate solos tinged with complicated, expressive or nervous rhythmic figures related to modern jazz styles – all these elements alongwith strange timbres, objects and sonoristic experiments are integrated to impressive free improvisations. Christian Bucher is using his wide musical knownledge, masterful virtuosity and invention to create a luminous, interesting and dynamic rhythmic section which has a surprising and driving sound.

Northover / Santana / Thompson – “xoo” (Plus Timbre, 2020)

“xoo” is a new release of “Plus Timbre”. An album has the fundaments of avant-garde and experimental jazz, and free improvisation, the main tendencies of contemporary academical music, as well. The music is modern, dynamic and bright, fullfilled with expressive melodies, sparkling sessions, intense and rich musical language, multi-layed effective pattern and huge range of playing techniques. All these elements make an effort to unique and interesting sound by experimenting, blending and researching to new and exciting ways of playing and improvising. Adrian Northover (soprano saxophone), Lukax Santana (percussions) and Daniel Thompson (acoustic guitar) are playing here together – three great jazz masters are developping their very own and original playing techniques, has an inspiring, evocative and bright playing style and are  dedicated to create brand new conception of avant-garde jazz.

“xoo” is fullfilled with new shapes, synthesized forms, inventive ways of playing and sparkling free improvisations. An effective, driving and passionate sound is created by using many different playing techniques, moods and expressions by fusing them together. Each musician has his own and individual conception and way of improvising – they’re open to new ideas, evocative decisions, stunning surprises and eclectic stylistic fusions. An independent melody line is the main accent of whole album. It’s – contrasting and intriguing, based on bright dialogue between vivid, eclectic and moving saxophone and elegant, expressive and flowing guitar. Two different instruments have its own and bright melodies – confroting of several bright and driving melodies finally is leading to flowing, sparkling, bright and passionate culminations. A saxophone is source of life, energy and huge amount of expressions. It’s mostly based on specific, home-made and original ways of playing masterfully developped by Adrian Northover. The basics of avant-garde jazz and free improvisation are joined together with the main tendencies of contemporary academical and experimental music – mostly it hears on timbral and instrumental section where these two genres are generally combined together. The compositions are filled with colors and expressions – a rich, multi-layed and bright musical material is a mix of thousands different pieces, sides and moods brought all together. Expressive remarkable melodies, vital virageous passages, thrilling roaring riffs along with breaking sessions and wild culminations are the main base of his music. These episodes are always accmpagnied by strange timbres, pecualiar noises, unusual tunes, gorgeous ornaments, hot thrills, urgling, growling or cracking solos. That makes an effort to original, expressive, bright and exciting sound. Vibrant perturbations, radiant culminations, frantic breaking solos, wainings and powerful full blasts of energy – all these elements are added to the main musical pattern and make an effort to original and thrilling saxophone improvisations. There’s also deep solemn solos, relaxing tunes and lyrical contemplations tinged with repetitive series and soft monotonous chords which come after blooming culminations and wild waining riffs. A guitar brings more colors and tunes to the compositions – Daniel Thompson is using huge range of colors and expressions to the main musical pattern. The music is fullfilled with colorful exciting riffs, expressive melodies, twinkling sparkling riffs, tremendous culminations which go directly down to sudden silent pauses, deep solos, haunted dark depressions or solemn pieces mixed with fragility, sadness or meditative mood. Astonishing sonoristic experiments, modern and traditional expressions, passionate thrills, bright contrasts, eclectic stylistic fusions and rare stylistic pairs – all these elements also are very important figures in driving and moving guitar’s improvisations. A duo of acoustic guitar and saxophone is contraversial, bright and dynamic – both musicians are reacting to each other’s playing, make unpredictable changes, dive in deep contemplations or suddenly burst in thrilling passages and transcendental ornaments. They both make an independent and moving melody line. Percussion is the key of the rhythmic section. All kinds of rhythms related to bebop, post bop, hard bop, neo bop, contemporary jazz, mainstream and other jazz styles are combined together with impressive free improvisations, exotic tunes, rare instrumental combos, strange timbres, fascinating sonoristic experiments, objects and innovations. All these elements are mastered by Lukax Santana. He makes a charming, moving, thrilling and contrasting rhythmic section with gorgeous background, braking sessions, moving flashes, tremendous culminations, stable beat which is changed by expressive, complicated or nervous rhythmic figures. The music of this album is based on free improvisation, experimental music and avant-garde jazz – it’s inspiring, exciting and expressive.

Kuzu – “Purple Dark Opal” (Aerophonic Records, 2020)

“Purple Dark Opal” was recorded by “Kuzu” and released on “Aerophonic Records”. An album is created by using the main basics of avant-garde jazz and experimental music. European, Scandinavian and American avant-garde jazz and its streams are joined together with free improvisational, experimental music and the main tendencies of contemporary academical music. “Kuzu” is a trio of Dave Rempis (alto/tenor/baritone saxophone), Tashi Dorji (guitar) and Tyler Damon (drums). The musicians are giant figures of avant-garde jazz scene – their music is innovative and bright, filled with original inventive decisions, intriguing turns, dynamic changes, flowing dizzy virages and spontaneous solos.

“Purple Dark Opal” has an innovative and expressive sound. The compositions are completely based on free improvisation – different streams of avant-garde and experimental jazz are brought together. Extended playing techniques, sonoristic experiments, research of strange timbres, integration of radical, specific or provocative musical decisions, huge range of modern expressions, gorgeous ornaments and abbreviations of all kinds – all these elements are gently combined together into effective, bright, colorful and innovative instrumental section. It’s the most important section of whole musical pattern along with fantastic melody line and dynamic rhythmic section. A huge attention to the emotions, characters and expressions is paid – the musicians are getting through all kinds of emotions, make sudden turns and virageous solos. Solemn deep solos played in abstract mood and filled with silent pauses or relaxing contemplations are turning out to fragile, gentle and soft, with remarkable melodies and vivid passages. After peaceful pauses and relaxation here comes furious scandals and wild culminations – the music is rising to terrific riffs with vibrant perturbations, tremendous culminations accompagnied by sharp shrieky tunes, persecuting sessions, rigorous breaking solos and flowing dizzy passages. All these elements are expressed the most in the saxophone improvisations. Dave Rempis is the master of his art – his expressive playing manner is a mix of incredible virtuosity, charming and remarkable playing style, innovative way of improvising and the best sound quality. These elements are blended to creativity, invention, wild imagination and the will to create something new and exciting. That’s how his saxophones become the main leading accents of the melody line which make it driving, crazy, luminous and moving. There are powerful riffs, turbulent perturbations, vivid solos, virageous ornaments, flowing passages, deep heavy pieces played in depressed and haunted mood brought in by guitar. Tashi Dorji is mixing up together all kinds of expressions, motions and playing techniques – sometimes his music is sweet, remarkable and exciting, when it gets deep heavy and depressed or turns out to meditative and relaxing mood. A guitar certainly is another source of special effects, original decisions and inspiring bright sound. Drums by Tyler Damon are based on expression and drive – blooming culminations with breaking sessions and driving riffs are the leading elements of rhythmic section. Nervous, expressive, complicated or scandalous rhythms are combined together with flying passages, booming riffs, terrific culminations and instant free improvisations which always have surprising and intriguing sound. Tyler Damon doesn’t hesitate to make brave, exciting, unusual, crazy or simply weird musical decisions – that makes an effort to remarkable and impressive rhythmic section.

Spemakh – “Nonzigo” (Ana Ott, 2019)

“Nonzigo” was recorded by “Spemakh” – it’s experimental and free improvisational music ensemble which members are professional and creative improvisers. Here Marius Buck (drums, percussion), Stephan Goldbach (double bass), Philipp Hawlitschek (objects, winds), Karl-Heinz Heydecke (voice noise, viola), Florian Seefeldt (electric guitar) and Peter Strickmann (objects, winds, feedback). Rare exotic tunes, innovative instrumental section based on home-made, specific, experimental and traditional instruments, rare combos, extended playing techniques, inventive radical decisions, provocative turns, sudden changes and eclectic stylistic combos – all these elements makes surprising, experimental and driving sound. “Spemakh” is famous for inspiring and bright compositions played in driving, passionate and contrasting mood.

The basics of contemporary academical and experimental music meet the electronics, concrete, sonoristic and spectral music, and the basics of avant-garde jazz. Generally, arranged pieces are against abstract forms, impressive free improvisations and spontaneous solos. The main tendencies of contemporary academical music, extended playing techniques mixed together with inventive, organic, strange, effective, sparkling and suprising ways of playing, abbreviations, ornaments, timbres, special effects, feedback, synth and electronics – all these elements are fundaments of the instrumental section. It’s innovative, bright and expressive, filled with dozens of layers, moods, expressions, and characters. Winds, electric guitar and viola are the main accents of the melody line. Expressive luminous melodies filled with tremendous riffs, sparkling passages, full blasts, frantic driving sessions or soft whistling solos with tiny ornaments, gentle pieces and solemn mood. The winds are very contrasting and moving – from softness, fragility and gentle playing manner the music gets annoyed, sharp, noisy and shrieky – persecuting extremely loud sessions, repetitive aggressive series, hysteric scandals, wild culminations and rigorous growls. Winds section is multi-colorful, passionate, driving and expressive – it’s also a source of colors, special effects, interesting noises, inventive chords and strange timbres. An electric guitar contains the other side of the album along with feedback and voice noise. Heavy dark riffs, minimalistic samples, fragile solemn pieces which are growing directly to charming culminations, sparkling solos – all these elements are accmpagnied all the time by vocal and spoken elements, synthesized tunes, special effects, drone, ambient, glitch, loops, in-puts, sonoristic experiments and other modern innovations of electronics. An electric guitar is getting through different kinds of moods and characters – sometimes it’s heavy and dark, when the musician enters into unknown, strange and open space there subtle improvisations, minimalistic samples, sonoristic experiments, coloristics, the main elements of concrete or spectral music, strange chords and peculiar timbres are gently brought together. When the music gets stitchy, angry, aggressive and scandalous – frantic hysteric culminations with high perturbations, luminous riffs and fabulous melodies are the most effective pieces of guitar improvisations. Deep, calm and solemn viola keeps the bass line along with double bass – these two instruments gently fit together. Monotonous and slow solos accompagnied by deep contemplations, astonishing sonoristic experiments, coloristics, abbreviations and ornements turn out to light, passionate and remarkable mood. That makes an effort to bright, inspiring and emotional sound. Drums, percussion and all kinds of objects – that’s the base of rhythmic section, of course. Expressive nervous tappings, complicated rhythms, aggressive thrills, stable beats, strange timbres, object sounds, sparkling terrific culminations, vital solos, frottings, tremolos, dizzy passages and gorgeous percussion – all these elements are gently brought together and effect an independent, bright and dynamic rhythmic section. The music of this album is moving and thrilling – it’s based on surprising inventive decisions, extended and experimental playing techniques and a mix of experimental, sonoristic, contemporary academical and free improvisational music, and the basics of avant-garde jazz, as well. An album has surprising, bright and innovative sound.