Anemochore – “suites and seeds” (Creative Sources, 2019)

“suites and seeds” was recorded by “Anemochore” – it’s a quartet based on Frantz Loriot (viola), Sebastian Strinning (tenor saxophone and bass clarinet), Daniel Studer (bass) and Benjamin Brodbeck (drums). All four musicians are famous improvisers. Their own playing style, inventive point of view, passion to create something new and exciting, unique sound made them the central figures of avant-garde jazz and contemporary academical music scene. The musicians are collaborating with other jazz masters – their music always has inspiring, bright, passionate, driving and evocative sound. All the music is an organic synthesis of innovations and traditions, the main basics of avant-garde jazz, contemporary academical and experimental music and interesting relations to one or another music style.

The musicians of “Anemochore” quartet manage to create an exciting, bright and inspiring sound in “suites and seeds”. The compositions are completely based on the basics of free improvisational music, avant-garde and experimental jazz. The roots of avant-garde jazz is the source of inspiration and original ideas – musicians make a return to its typical elements basically related to 1960’s American avant-garde jazz. The relations with other music styles and genres are highly detected – innovations of contemporary academical music, sonoristic experiments, the basics of experimental, spectral or concrete music, are frequently used here all together with the basics of avant-garde jazz. The compositions have an open form – that makes a great opportunity to improvise without any frames or strict rules. Free, inspiring, dynamic and wild improvisation is the only form of playing – sudden changes, dynamic turns, immediate reponses to each other’s playing and spontaneous solos are the main basics of it. An innovative, original and multi-colorful instrumental section is created by combining together experimental, extended, original, specific, weird, provocative, radical and traditional playing techniques. Saxophone and bass clarinet by Sebastian Strinning make the base of the melody line. Independent expressive and vital melodies are in the centre of it – improviser has a thrilling, dynamic and emotional playing style. The melodies are accompagnied by roaring riffs, frantic wild culminations, hollowing trendy blow outs, flowing elegant passages, special effects, strange timbres, sonoristic experiments and huge range of expressions gently combined together. Vivid gentle and expressive tenor saxophone is contrasting to deep, heavy, vibrant, heavy and dark bass clarinet, which creates the other side of the album – relaxing, calm, steady and cool. Deep and solemn viola is masterfully created by Frantz Loriot. The music is expressive, vital, filled with contrasts and surprises. An improviser is blending together the main tendencies of contemporary academical music and the traditions of free improvisation. Fresh, awakening, shrieky and evocative solos are mixed up together with monotonic slow tunes, special effects and slow meditative pieces. Bass keeps the main bass line. Daniel Studer is the master of his art – he manages to mix up repetitive series, deep heavy tunes, remarkable melodies, suggestive solos and vibrant terrific culminations. Expressive bebop, aggressive tremendous hard bop, calm and steady cool, extravagant and modern post bop all blended up together with fascinating culminations, breaking sessions, impressive free improvisations and spontaneous changes – Benjamin Brodbeck manages to combine all these elements in one place and create an expressive, dynamic, surprising and independent rhythmic section.

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Laura Jurd – “Stepping Back, Jumping In” (Edition Records, 2019)

“Stepping Back, Jumping In” is a great result of collaboration of large group of musicians and ensembles. All the musicians are the central figures of experimental jazz and contemporary academical music scene. Here we have an opportunity to hear out Laura Jurd (trumpet), Raphael Clarkson (trombone in tracks 3, 5 & 6), Alex Paxton (trombone in tracks 1 & 2), Martin Lee Thomson (euphonium), Soosan Lolavar (santoor), Rob Luft (banjo / guitars), The Ligeti Quartet – Mandhira de Saram (violin), Patrick Dawkins (violin), Richard Jones (viola), Cecilia Bignall (cello – guest cellist) – as well as Elliot Galvin (piano), Anja Lauvdal (synth / electronics), Conor Chaplin (double bass), Liz Exell (drum kit) and Corrie Dick (drum kit) playing together. Multi-layed, colorful, based on wide stylistic variety, innovative instrumental section and unique sound – that’s the base of this album.

Different styles, expressions, sounds, timbres and emotions are gently synthesized together in “Stepping Back, Jumping In”. The compositions have an extended, emotional, rich and modern musical language. The musicians manage to find the balance between absolutely contrasting pieces – traditional natural acoustics meet ghostly abandonned dub, synthetic electronics, modern special effects and other extended playing techniques. The sonoristic experiments in timbral and rhythmic section are frequently made – that makes an effort to colorful, multi-layed and fresh sound. There’s no line between different styles – the main basics of innovative experimental jazz, free improvisational music and the roots of 1960’s avant-garde jazz are connected to the modern tendencies of contemporary academical music, the basics of academic avant-garde, sonoristic, spectral and concrete music, as well as fascinating sonoristic experiments. Thiss huge stylistic variety makes a colorful and effective musical pattern, which is based on different solid sections highly contrasting against the other. The melody line is solid,m independent and polyphonic. The tunes of strings, piano, guitar and banjo contain the basic of it. Awakening, sharp and hysteric solos, shrieky tunes, repetitive series accompagnie the expressive, remarkable melodies, flowing dizzy passages, soft elegant pizzicatto and luminous dramatic culminations. That’s the main base of violins section. Its fresh and expressive sound gently fits together with deep and slow viola, dynamic, remarkable and vivid cello. Breaking sessions, booming, frustrating and wild culminations, vibrant pereturbations, nervous hysteric chord’s sequences which are highly contrasting to relaxing and mid–slow episodes, minimalistic samples, cool and steady pieces or silent pauses. Pianist manages to create an energetic, awakening, fresh and interesting sound – that makes an effort to whole sound. Piano and strings together are in the heart of the melody line. The melody line wouldn’t be so impressive, if there wouldn’t be any other instruments which beautifully illustrate the main melody and make a gorgeous musical background. Growling, bursting and expressive trumpet bring the energy and drive to the compositions. Deep, heavy, steady and cracking trombones keep stable bass line and is the source of a little bit different sound – calm, relaxing and dynamic at the same time. Melodic euphonium and exotic santoor create a colorful, ornamental and beautiful background. Banjo and guitars tunes are another important accents of the melody line. Its beauty, expression and vividness is accompagnied by flowing passages, fascinating riffs, wild culminations, silent pauses or relaxing lullabies – guitars and banjo are the sources of fresh, awakening and inspiring sound. The compositions also have a remarkable and fantastic rhythmic section – it’s basically kept by heavy, deep and solemn double bass and dynamic expressive drums. Steady and deep bass line is contrasting to vibrant culminations, sophisticated solos, expressive melodies and wild riffs. The drums section is composed from all kinds of rhythms – expressive bop, aggressive hard bop, terrific free improvisations, wild culminations, qsteady silent beats, repetitive series, breaking sessions, light flowing passages or other kinds of elements are joined together in organic and creative way. The compositions of this album have an innovative instrumental section – it’s based on experimental playing techniques, special effects, drone, glitch, dub, synth tunes, computer sounds, ambient, sonoristic experiments, sound machine’s tunes and other electronics and synth sounds.

Brötzmann / Schlippenbach / Bennink – “Fifty Years After​.​.​. Live at the Lila Eule 2018” (Trost Records, 2019)

“Fifty Years After​.​.​. Live at the Lila Eule 2018” is a great album which was recorded by three featured jazz masters. That’s another one occassion to hear out three central figures of international avant-garde jazz scene playing together – it’s Peter Brötzmann (tenor saxophone, b-flat clarinet, tarogato), Alexander Schlippenbach (piano) and Han Bennink (drums). The music composed by these musicians, always is filled with love, passion and drive. Intriguing fabulous solos, charming remarkable melodies, sharp furious growls and terrific sessions are the main compounds of the compositions. The jazz masters are demonstrating the splendid capacities of improvising, masterful virtuosity, hypnotysing and driving playing technique and unique style.

All the compositions of “Fifty Years After​.​.​. Live at the Lila Eule 2018” are completely based on the main basics of free improvisation, European and American avant-garde jazz roots, the innovations of experimental jazz and sonoristic experiments. There are many other styles, which accompagnie the main compounds and bring more colors and tunes – musicians manage to make an eclectic, sparkling and impressive stylistic variety. Nervous hysteric solos, aggressive and exciting melodies, expressive riffs are highly related to bebop, post bop or any other modern jazz styles. The musicians fuse together all kinds of elements, expressions and tunes. Traditional and effective ways of playing gently fit together with experimental, innovative, specific or simply weird playing techniques. That finally forms an inspiring, original, multi-layed and impressive instrumental section. Saxophone and clarinet changed from time to time by exotic tarogato, is the source of energy and drive. Peter Brötzmann is doing his best – the improvisations are full of original decisions, evocative tunes, sharp shrieky riffs or waining, growling, roaring and luminous blow outs. Drive, passion, expression, joy and the will to create something new and exciting are gently joined together. Tremendous bursting culminations, furious hollowing blow outs, perturbating sessions, wild transcendental passages, gorgeous ornaments, sonoristic experiments and all the coloristics which accompagnie all the time the main melody line – Peter Brötzmann finds the best way how to produce an inspiring and simply impressive sound of his improvisations. Vivid expressive clarinet, roaring frenzy saxophone and exotic tarogato make a great combo. Hot thrills, passionate sparkling melodies, splendid charming solos, sudden jumps, bright contrasts, silent pauses which grow directly to wild booming culminations – that’s the base of piano improvisations played by Alexander Schlippenbach. Expressive, sparkling and driving solos make the base of his music. Silent pauses, repetitive sessions, frantic perturbating sequences, sharp timbres, aggressive breaking culminations, colorful ornaments, light transcendental passages are the main compounds which make a fantastic, awakening and terrific sound of Alexander Schlippenbach’s music. Both musicians create the indpendent and glamorous improvisations which are in the centre of the melody line. It’s – driving, crazy, passionate and wild. Drums section forms an incredible rhythmic section. Han Bennink boosts on roaring thrills, rising striking culminations, impressive free improvisations, spontaneous solos, sudden turns or suddenly calms down on steady beats, silent pauses, sonoristic experiments or light, relaxing and peaceful episodes. All huge range of colors, moods, styles and tunes are masterfully joined together – Han Bennink makes an inspiring, driving and awakening rhythmic section.

Kontrabassduo Studer-Frey With Jürg Frey And Alfred Zimmerlin ‎– “Zeit” (Leo Records, 2019)

“Kontrabassduo Studer-Frey” is formed by two great bassists who are playing together more than a decade now. Daniel Studer and Peter K. Frey are the masters of their art – the compositions are based on eclectic combos, innovative decisions, extended playing techniques and wide musical knownledge. Sensible and emotional corresponding to each other’s playing also is detected – that makes an effort to hypnotysing and suggestive sound. “Zeit” is the newest project of this great kontrabass duo – Daniel Studer and Peter K. Frey are playing as a duo or together with Jurg Frey (clarinet in tracks: 2, 4, 9, 10) and Alfred Zimmerlin (cello in tracks: 2, 4, 9, 10). All musicians are the central figures of improvisational music scene – their music is mix of spontanity, impression, millions of moods, characters and expressions.

“Zeit” is based on different combos and styles. Contrabass duos of Daniel Studer and Peter K. Frey have an exclusive and modern sound. Interesting and organic combo, inspiring sound and inventive musical decisions are also made in compositions for a quartet – here the musical pattern is colorfully illustrated by clarinet and cello. The duos and quartets are highly contrasting with each other. All compositions have an exceptional and modern musical language – all kinds of ornaments, passages, timbres, tunes and expressions are used here. A colorful and multi-layed musical pattern is created. Solid vibrant melody line, dynamic rhythmic section, gorgeous background accompagnied by coloristics, special effects and sonoristic experiments. An innovative and original instrumental section is created – experimental and extended playing techniques related to avant-garde jazz, experimental and contemporary academical music contain the base of it. A huge stylistic variety is detected – the basics of experimental jazz, impressive spontaneous free improvisations, avant-garde and modern jazz styles, contemporary academical music and academic avant-garde are joined together in organic and remarkable way. Contrabass duos have an expressive and original sound. Both bassists are getting on contrasting pieces, integrating inventive musical decisions and experimenting on various cases of musical language. The music is full of contrasts and sudden turns. From silent, deep, heavy and relaxing episodes accompagnied by strange timbres, extended playing techniques and repetitive samples, the music gets bright, sparkling, touching and passionate. Dramatic culminations, roaring wild storms of sounds, frantic riffs, glimpsing dizzy passages, soft elegant pizzicatto or rising driving episodes are used frequently. The bassists are improvising spontaneously for the most of the time – their music is filled with sensible impressive solos and pleasant surprises. Contrabass are accompagnied by electronics – glitch, drone, computer sounds and sound machine’s experiments are only one little part of electronics which are used along with contrabass. An organic and interesting synthesis of acoustics and electronics is made. Cello melodies by Alfred Zimmerlin is the source of energy, vibrant perturbations and dramatic culminations. Cello melodies have a huge scale of tunes, motions and timbres – its gentle, light and melancholic tunes gently fit together with playful, vivid and expressive, or shrieky, frenzy and wild riffs. That makes an effort to energetic and bright sound. Clarinet tunes by Jurg Frey are played in active and dynamic mood. Expressive melodies, roaring tremendous riffs, wild perturbations, dizzy charming passages, gorgeous ornaments, strange timbres, sonoristic experiments, booming hysteric blow outs – that’s the base of Jurg Frey’s clarinet improvisations. All the compositions of the album have an expressive and passionate sound.

Michael Zerang ‎– “Assyrian Caesarean” (Holidays Records, 2019)

“Assyrian Caesarean” is the first solo album of famous percussionist Michael Zerang. Extended and suggestive playing technique, impressive virtuosity, hypnotysing unique sound and spontaneous free improvisations – that’s the main elements of his music. Michael Zerang is the master of his art – he has a unique playing technique, driving and exciting style and modern musical language. A drummer and percussionist is a featured figure of international avant-garde jazz scene. Through the long years of creative activity, an improviser had improvised together with other famous jazz stars. He connects different cultures, eclectic styles, authentic traditions and fresh innovations – Asian and European cultures, Western Africa ethnic music, Afroamerican music, the basics of American avant-garde jazz and Western Europe music by playing together with ither famous jazz masters, ensembles and leading figures of avant-garde jazz scene.

“Assyrian Caesarean” has an expressive, bright and awakening sound. It’s the first time, when we can hear Michael Zerang playing solo. The compositions are totally based on free improvisation, avant-garde jazz and sonoristic experiments. Percussionist has an incredible playing technique – masterful virtuosity, flowing passages, gorgeous timbres and extended ways of playing are gently joined together. Emotional, driving, glimpsing, contrasting and simply impressive playing manner is the heart of whole album. The compositions are based on contrasts and millions of expressions gently combined together. Improviser is demonstrating his wide capacity of improvising, inventive decisions and innovative point of view. Sound experiments on timbral, rhythmic, melodic and instrumental section are frequently used. The compositions have an expressive sparkling melody line, fantastic and dynamic rhythmic section, colorful background and sharp awakening harmonic background. Drummer makes sudden turns and eclectic allusions. Sometimes his music is highly related to expressive nervous bebop, hysteric and aggressive hard bop or calms down to steady relaxing cool or any other jazz style. Spontanity and impression are the main elements which form the musical pattern – drummer gets on fabulous solos, flowing passages, gorgeous ornaments and driving adventures without any effort or force. All the elements are connected naturally and organically. The music is a colorful, artsy and effective mix of all the elements of musical language. The huge variety of expressions, sounds, tunes and timbres is detected – improviser is demonstrating the best abilities of playing and creative point of view. The contrasting pieces are gently combined together – that makes a colorful, effective and impressive sound. From silent pieces, special effects, strange timbres and abstract improvisations mostly played in slow or mid-slow tempo, the music gets striking, rising, adventurous and sparkling. Here comes roaring beats, booming wild culminations, vibrant perturbations and frantic aggressive riffs – all these elements are gently joined together to one musical pattern. The music of this album has an expressive musical language and original inspiring sound.

Underful Quartet – “Live at BrÖtz” (HOO – HA Recordings, 2019)

“Live at BrÖtz” is a great album recorded by “Underful Quartet”. The basics of avant-garde jazz, experimental music, free collective improvisation and various streams of modern jazz styles are gently combined together in the music of “Underful Quartet”. An ensemble is formed from four featured jazz masters – it’s Axel Dörner (trumpet), Jonny Wartel (saxophone), Adam Pultz Melbye (upright bass) and Henrik Wartel (drums). Independent and creative playing style, an usage of extended playing techniques and research of strange timbres and tunes – that’s the base of their music. The improvisers are experienced and talented players – their music is a mix of cordial, impressive, passionate, driving or simply crazy musical decisions and improvisations. Spontaneous solos, bright contrasts, unpredictable turns, sudden changes, pleasant surprises, gorgeous timbres and all kinds of expressions or ornaments – each element has its own place in musical pattern.

The music of “Live at BrÖtz” is full of extravagant ideas, modern decisions and rich eclectic musical language. Each improviser demonstreates the best capacities of improvising – splendid virtuosity, wide musical knownledge, innovative point of view and creative musical decisions are the very important elements of whole musical pattern. The compositions are based on open form – that makes a charming, exciting, free and simply impressive collective improvisations. The improvisers manage to create a multi-layed musical pattern. Solid, independent and simply fantastic melody line is created. Trumpet and saxophones tunes is the heart of it. Growling, frantic, hysteric, energetic and dynamic trumpet is the source of energy and drive. An impressive trumpet player Axel Dörner has expressive, sharp, suggestive and driving playing manner. His improvisations always is the burst of energy and an artsy mosaic of contrasting pieces. Improviser masterfully goes through different moods, characters and expressions. From silent pauses to bursting culminations, meditative dreamy pieces to roaring growling riffs, booming wild sessions, impressive flowing passages, gorgeous ornaments and special effects which accompagnie the main melody line all the time – that’s the base of this music. Dynamic turns, sudden changes, impressive virtuosity, energy and drive are the main reasons why Axel Dörner’s trumpet is the heart of the melody line. It makes bright, charming and remarkable sound. Vivid, expressive and dizzy saxophone gets along just fine with trumpet. These two instruments make a great combo. Jonny Wartel  is famous saxophonist – his music, just like Axel Dorner’s, is completely based on free improvisation, spontaneous solos, the usage of experimental, home-made and extended playing techniques and an integration of radical, provocative, extravagant, crazy or simply weird musical decisions. Vivid light pieces are changed by frantic riffs, pass to silent relaxing contemplations or rise on striking, luminous and wild culminations. Booming perturbations, vibrant blow outs, sharp hysteric solos, wild fast passages, flowing gorgeous ornaments and special effects are joined together. All these elements make an effort to vivid, expressive and dynamic melody line. Bassist Adam Pultz Melbye is experimenting on various cases of musical language. His music is accompagnied all the time by strange timbres, special effects and innovative decisions. Extended and experimental playing techniques make the base of his instrumental section. Deep heavy bass line formed by steady repetitive tunes is frequently changed by vibrant culminations, loud and vivid solos, remarkable melodies and other similar elements. Bass line has an effective, innovative and touching sound. It brings new colors to the melody line, keeps the rhythmic section and bass line, as well as colorfully illustrates the background. A terrific drums section is created – all music is improvised with passion and drive by Henrik Wartel. Hysteric riffs, furiously fast solos, steady beats, expressive bebop, aggressive frantic hard bop, modern extravagant post bop – all these elements grow out to wild driving culminations, fabulous breaking sessions and spontaneous experiments. Drummer manages to create energetic, bright, passionate and simply impressive rhythmic section.

Leblanc/Gibson/Vicente/Mira/Ferreira Lopes – “Double On The Brim” (atrito-afeito, 2019)

Double on the Brim

“Double On The Brim” was recorded by a group of featured jazz masters – it’s Karoline Leblanc (piano), Yedo Gibson (soprano, alto & tenor saxophones), Luís Vicente (trumpet), Miguel Mira (cello) and Paulo J. Ferreira Lopes (drums). Fresh, sparkling, evocative and innovative sound is created. All musicians are the masters of their art. They’re experimenting on various fields of musical language and are willing to create someting exciting and interesting. The improvisers had already developped their own and original sound – extended playing technique, expression and drive are the main compounds of it. Collaborations with other famous jazz masters, interesting projects, tours and concerts all over the world – that’s the main activites of these musicians.

All music is based on avant-garde jazz and collective improvisation. “Double On The Brim” is an organic mix of American and European avant-garde jazz streams, its innovations and traditions. The musicians are getting on brave ambitious free improvisations, dramatic culminations and integrating radical, specific, weird or simply crazy and exciting ways of playing. They also pay attention to the basics of avant-garde jazz – improvisers frequently get back to the roots of 1960’s avant-garde jazz. That’s how absolutely different and contrasting pieces are connected to one place. Experimental jazz and free improvisation are the main compounds, but the musicians are searching links to other jazz styles. The music is related to expressive and nervous bebop, aggressive hysteric hard bop, modern and dynamic contemporary jazz, steady cool or any other style. Huge range of extended playing techniques is created here – that makes a relation with contemporary academical and experimental music, sonoristic music or even repetitive ascetic minimalistic samples. An innovative and bright instrumental section is mostly based on experimental ways of playing, extended playing techniques, special effects and sonoristic experiments which make a great fusion with some very well-known ways of playing. A melody line is charming and simply fantastic – it’s kept by saxophones, trumpet and piano. All these three instruments make a great combo – musicians are masterfully corresponding to each other’s playing, getting on brave explosing riffs, booming driving culminations, immediate reponses and spontaneous solos. The main principe of improvisng is used everywhere, but is mostly heard on melody line. Different kinds of saxophones bring vividness, drive and expression. Yedo Gibson is mixing up innovative and exclusive experimental jazz, free improvisation and the roots of avant-garde jazz. Expressive melodies, hysteric perturbating riffs, dramatic culminations, wild breaking sessions, growling booming solos, hot thrills, vibrant impressive pieces, flowing passages and research of strange timbres contain the main base of it. That makes an effort to energetic, charming and thrilling sound of whole album and melody line. Firious, sharp, aggressive, perturbating and driving trumpet by Luís Vicente is the heart of the melody line. Trembling thrills, passionate melodies, moving glissando, breaking sessions, sharp frantic series, blooming culminations – all these elements are combined together with drive, expression and pleasure. Improviser manages to create dynamic, luminous and impressive sound. Piano by Karoline Leblanc is a mix of huge range of emotions, moods, characters and sounds. Pianist is mixing up together her hypnotysing and expressive playing manner, driving style, extended playing techniques, modern and charming musical language, wide musical knownledge and the will to create fresh, vital and eclectic sound. Vibrant tremendous culminations, sharp breaking chord’s sequences, booming terrific riffs, perturbating driving sessions, light flowing passages are leading elements in piano improvisations. The music is dynamic, emotional and driving filled with love, passion and energy. Sonoristic experiments, strange timbres, special effects, steady deep bass line which suddenly grows out to dramatic culminations, remarkable melodies, astonishing riffs and contrasting pieces gently brought together – that’s the base of effective, hypnotysing and original bass played by talented and creative bassist Miguel Mira. His bass opens the other side of the album – it covers silent pauses, minimalistic samples, ascetic tunes, eclectic and colorful variety of styles, emotional way of playing and exclusive musical decisions. Drums section by Paulo J. Ferreira Lopes is completely based on free improvisation and experimental jazz – the music is made spontaneously and with drive. The drummer is using his wide musical knownledge, modern musical language, extended innovative playing techniques and radical decisions to make an exceptional and original sound. Booming culminations, dramatic hysteric riffs, vibrant breaking sessions, silent pauses, light and subtle pieces, slow steady beats and huge range of ornaments and timbres are organically brought together. All musicians are improvising with drive, joy and expression – that makes astonishing, inspiring and touching sound.