Graewe / Reijseger / Hemingway – “Concertgebouw Brugge 2014” (Fundacja Sluchaj, 2019)

The collaborations between great jazz masters always are interesting and filled with original decisions, surprises and thrilling changes. “Concertgebouw Brugge 2014” is an excellent example of it – here pianist Georg Graewe, drummer and percussionist Gerry Hemingway, and cellist Ernst Reijseger are improvising together. New fresh ideas, original investigations, researches of strange timbres, sonoristic experiments blended with innovations of avant-garde jazz, driving riffs, pleasant surprises, touching solos and original techniques of composing and improvising – all these elements are organically joined together in their music.

All music of this album is created by all three musicians. Each of them has his own sound and unique style – they’re bringing new colors, interesting shapes and intriguing decisions to the music. Evocative investigations, lyrical contemplations, meditative pieces, steady solos which are contrasting to passionate thrills, roaring wild riffs, luminous culminations, impressive passages, remarkable expressive melodies and breaking sessions – the musicians pass through dozens of different moods, interactions, motions and expressions. Rich and evocative musical language is created. The compositions have a multi-layed and universal musical pattern which is a mix of independent melodies crossing and contrasting with each other, dynamic and wide rhythmic section, gorgeous background constructed from huge range of coloristics, ornaments, textures and timbres. Pianist Georg Graewe keeps the base of the melody line. Sensible, touching and impressive – that’s how we could the melody line basically created by piano and cello duo. These two instruments have absolutely individual melodies and solos – it’s a mix of gravity, deepness, vitality, joyful, driving and passionate playing blended together with solemn, peaceful, calm and extraordinary pieces. Piano is a source of energy, drive and passion. Georg Graewe is experimenting on various cases – he’s using new and innovative ways of playing, frequently get back to the roots of avant-garde jazz or – head on to brand new innovations of experimental jazz. The music is based on wild culminations, rising attacks, terrific riffs, breaking driving sessions, expressive vital melodies accompagnied by transcendental passages and gorgeous timbres. From time to time there comes sweet, murmuring, peaceful, relaxing and slow pieces played in meditative and contemplative mood. The contrasts are everywhere – one mood is changing the other. Vital, joyful, childish, soft and gentle pieces are suddenly changhed by noisy wild riffs, perturbating sessions, hysteric and aggressive solos or furious sequences. Cellist Ernst Reijseger brings more solemn and calm sound with sudden interactions with terrific perturbations, expressive melodies and passionate riffs. Stable bass line played in repetitive and slow mood is created by monotonous rhythms and series. Solemn and deep pieces mixed with gravity, sonoristic experiments, abstract pieces or lyrical contemplations are used here. Here comes hot spills, vibrant strikes, bursting thrills, passionate riffs, breaking sessions and impressive melodies – all these elements become bright and colorful accents of whole musical pattern. Cello brings touching, expressive, thrilling and dynamic sound played with drive, passion and creativity. Steady beats, tight bass line, slow lyrical pieces, typical rhythms of contemporary jazz styles mixed up to hysteric riffs, aggressive series, noisy solos and other elements related to bebop, hard bop and other modern jazz styles. All these elements finally head to the culmination – impressive free improvisations accompagniedby bursts fo energy, radiant culminations, perturbating riffs and mix of gorgeous timbres or sonoristic experiments. All that is mastered by Gerry Hemingway – drummer finds the best way how to combine together absolutely different elements and make an astonishing and bright sound.

Marilyn Lerner / Ken Filiano / Lou Grassi – “Intention” (Not Two Records, 2019)


“Intention” is a new release of “Not Two Records”. All music of this album is based on avant-garde jazz and free improvisation. Three central figures of avant-garde jazz scene are joined here to improvise – Marilyn Lerner (piano), Ken Filiano (bass & EFX) and Lou Grassi (drums & percussion) are dedicated to free, dynamic, bright and passionate improvising by using innovative, extended and experimental decisions. Their music is fresh, evocative and exclusive – it’s full of surprises, splendid virtuosity, extended playing techniques, innovations and traditions gently brought together and experimental ideas.

Pianist Marilyn Lerner is the soul of the melody line. Piano is like a playground for her – Marilyn Lerner gently combined together dozens of different playing techniques, rich modern expressions, inventive decisions and sonoristic experiments. From rising breaking sessions to calm pieces, dreamy lullabies, minimalistic samples or repetitive series – the strong contrasts between active, frantic, thrilling and passionate episodes or lyrical slow contemplations are used everywhere. Frantic wild culminations, luminous aggressive riffs, breaking perturbations, hysteric solos, sparkling passages, longly-repeated sequences, sharp complicated tunes, modern expressions are the main compounds of it. A pianist likes spontaneous decisions and surprises – that’s why there’s so much instant improvising in her music. It’s a mix of dozens of moods, motions, timbres and turns – dark, solemn and peaceful suddenly strikes on attacking riffs or aggressive solos, wild perturbating culminations accompagnied by transcendental passages, glissando and ornaments of all ranges are going down to repetitive, abstract, depressed, abandonned or ascetic solos, or light, sweet, relaxing and passionate mood. All piano music is played in bright, dynamic and passionate mood and has an expressive and vital sound. That makes an independent, sparkling and impressive melody line. Ken Filiano is a great bassist who mixes yp his masterful virtuosity, experience and innovative point of view. His music is based on free improvisation and the basics of avant-garde jazz. The music goes through different moods and textures – from abstract, minimalistic and repetitive pieces played in meditative mood the music gets noisy and annoying, sharp and aggressive, frantic and hysteric, filled with wild culminations, breaking sessions, impressive passages, gorgeous ornaments and sonoristic experiments. Here an improviser demonstrates his ability to moderate and balance between absolutely different moods and finally join them together in suitable and organic way. Special effects, amplifications, sonoristic experiments, modified tunes and other electronics are used here to make the sound more colorful and interesting. Finally, an improviser manages to connect all these elements together and create an interesting, innovative and expressive sound. A fantastic and universal rhythmic section is mastered by Lou Grassi. Rolling beats, breaking sessions, steady monotonous beats, booming perturbations and luminous culminations meet colorful timbres of percussion, tappings, frottings, special effects, object’s sounds, sonoristic experiments, ornaments, expressions and playing techniques of all kinds are combined together. Lou Grassi succesfully creates an astonishing, dynamic and bright rhythmic section. All compositions have an open form and multi-layed pattern. The basics of avant-garde jazz are blended with experimental music, electronics and various streams of modern jazz styles. The instrumental section is completely based on extended, rare, exotic, weird, specific, home-made, experimental and innovative playing techniques. A rich and expressive musical language mixed with drive and vitality is created. All these elements make an effort to dynamic, innovative and bright sound.

Liquid Quintet – “FLUX” (Fundacja Sluchaj, 2019)

Extravagant ideas, intriguing and innovative ideas, bright evocative expressions, drive, inspiring playing manner and the newest innovations of avant-garde jazz are joined together in “FLUXUS”. It’s the newest release of “Liquid Quintet” which is based on Agustí Fernández (piano), Artur Majewski (trumpet), Albert Cirera (soprano and tenor saxophones), Rafal Mazur (electric-acoustic bass) and Ramon Prats (drums). Great stars of international avant-garde jazz scene had gathered together to improvise and experiment on all fields of musical language. Their music is full of fresh evocative ideas, sonoristic experiments, eclectic stylistic fusions, exotic combos, rare tunes and special effects.

The basics of avant-garde jazz fused together with modern and contemporary jazz styles contain the main stylistic base of “FLUXUS”. Free improvisations are filled with wild culminations, spontaneous solos, contrasting pieces gently brought together, impressive riffs and surprises. Each improviser likes to improvise on his own and original way – they’re open to new ideas, exciting innovations and unexpected sudden turns. From simple, bright and expressive mood the music gets frantic, frenzy, terrific, angry, aggressive and thrilling. Sometimes it calms down to silent murmurs, meditative pieces, minimalistic samples, repetitive sessions and lyrical contemplations played in slow, relaxing and abstract mood. Twists, struggles, fascinating riffs, amazing risings, sudden downs, bright contrasts and all kinds of expressions are frequently used here. The textures are frequently changed – vividness, vitality, lightness and passion meet steady beats, rough, tight, solemn, ambient, authentic and specific tunes. All these elements are gently combined together – the musical pattern has an independent melody line, dynamic and suggestive rhythmic section, gorgeous background and impressive instrumental line based on experimental playing techniques and innovations. The melody line has its main accents which make the highest effort to whole sound. Trumpet, piano and various types of saxophones make a great combo. A saxophonist Albert Cirera brings lightness, drive and passion. His music is totally based on free improvisation – independent expressive melodies tinged with transcendental passages and gorgeous ornaments are rising to furious riffs, hysteric perturbations, persecuting sessions, driving and roaring blow outs or – silent, murmuring and soft pieces. All wide palette of colors, textures and expressions is used here to make an exclusive and passionate sound. Bright, waining, growling, cracking, filled with struggles, sudden jumps, shrieky breaking sessions and fantastic experiments – Artur Majewski’s trumpet becomes a source of energy, drive and wild culminations. His music is contrasting and bright – an improviser has an inventive point of view, creativity, the will to create something new and moderate between all kinds of genres, styles and expressions. That finally makes an intriguing and bright sound. Terrific riffs, vital scandalous sessions, remarkable melodies which grow out to frantic culminations and real storm of sounds and timbres – pianist Agustí Fernández is improvising just impressive. His music is based on instant improvising and spontaneous solos – Agustí Fernández joins together calm pieces, sophisticated and dark excerpts, repetitive series, frantic sequences, steady beats tinged with wild culminations, perturbations, persecuting tunes and driving sessions. All three instruments contain the fundaments of musical pattern and melody line – it’s a source of drive, energy and vitality. Bassist Rafal Mazur demonstrates an original conception of his music. It’s based on synthesis of electronics and acoustics, traditions, roots and innovations of avant-garde jazz and sonoristic experiments. Here glitch, ambient, synth tunes, special effects, modifications and alterations, amplifications, in-puts and other electronics are joined together with authentic, natural, warm and gentle tunes, or go on rough, sophisticated, dark and lyrical mood accompagnied by abstractions, ornaments and tight bass line. The music has an inspiring and evocative sound. Turbulent bursts of energy, breaking sessions, booming culminations, nervous complicated rhythms, aggressive beats, steady calm tunes, special effects, strange tunes and experiments are brought together in impressive way to create an astonishign and bright rhythmic section. Ramon Prats is the master of his art – his music is full of investigations, intriguing decisions, vital melodies and evocative ideas.

Axel Dörner and Tomaž Grom – “Omejeno gibanje / Confined Movement” (Sploh, 2019)

A trumpeter Axel Dörner is the central figure of American and international avant-garde jazz scene. His music is completely based on the innovations of experimental jazz. An improviser frequently gets back to the roots of 1960’s avant-garde jazz and its basics. Bassist, sound artist and improviser Tomaž Grom has an original style, modern playing manner and is a famous jazz master of European avant-garde jazz scene. His music is based on new conception of avant-garde jazz. It’s completely based on improvisation. European avant-garde jazz and its fundaments are combined together to American avant-garde jazz, its traditions and modern innovations. “Omejeno gibanje / Confined Movement” is a great collaboration of these musicians – even though both of them are individual and original jazz masters, they succesfully manage to create an exciting, passionate and innovative sound.

Research of strange timbres, fascinating sonoristic experiments, evocative ideas and extended playing techniques are frequently used compounds of “Omejeno gibanje / Confined Movement”. Both musicians are open to new ideas and inventive decisions – they’re getting on experimental, weird, radical or provocative musical decisions, make rare exotic instrumental pairs or eclectic stylistic combos. The music is completely based on open form and free improvisation – that makes an opportunity to search and create exciting, intriguing and exclusive musical decisions. Spontaneous solos, sudden changes, contrasting pieces, instant improvising and inventive ways of improvising – musicians demonstrate wide variety of techniques and expressions to create a bright and inspiring sound. All music is based on avant-garde jazz – the basics of European and American avant-garde jazz are joined together. Expressive bebop, aggressive thrills, growling riffs, stitching scratching, angry, hysteric or frantic culminations joined together with impressive free improvisations, transcendental passages and gorgeous ornaments – that’s the base of Axel Dorner’s improvisations. The trumpeter is demonstrating his own and original style – wild culminations meet silent pauses, lyrical contemplations or steady peaceful excerpts. Vivid, light and dizzy passages are changed by terrific breaking sessions, angry thrills, hot growls, explosing bursts of energy or grow out to real storm of sounds, timbres and expressions. An improviser surely knows many effective and innovative ways of improvising – he succesfully manages to integrate them to the musical pattern. His music is a source of drive, expression and innovative ideas. Bassist Tomaž Grom is using interesting ideas, synthetic forms and combos of acoustics and electronics to explore and show his new and original conception of music. He’s diving in deep contemplations by exploring new fields of musical language, creating new and exciting expressions, inventive playing techniques and expanding the main abilities of his instrument. Complicated, sophisticated, deep, solemn, dark, depressed and abandonned pieces are contrasting to light, bright and terrific culminations. The improvisations are filled with complicated and difficult musical language, intriguing, exciting, radical, weird, rare or provocative decisions, which bring new, modern and bright sound to the compositions. Both musicians manage to create an innovative and expressive sound.

Colin Hinton – “Simulacra” (New Focus Recordings, 2019)

“Simulacra” was recorded by Anna Webber (tenor saxophone, flute, bass flute), Yuma Uesaka (tenor saxophone, clarinet, bass clarinet, contralto clarinet), Edward Gavitt (electric and acoustic guitars), Shawn Lovato (bass) and Colin Hinton (drums, percussion, glockenspiel, gongs). A group of talented, masterful and experienced jazz masters had joined together to improvise. Their music is filled with animated splashes, dizzy glissando, moving thrills, fascinating riffs, impressive free improvisations, wild culminations, stunning passages and spontaneous changes. The musicians have a new conception of avant-garde jazz and suggestive, dynamic and expressive sound.

Independent melody line, dynamic and wide rhythmic section, gorgeous and expressive background and exclusive instrumental section – that’s the basics of “Simulacra”. The musicians manage to create a multi-layed and bright musical pattern – wide stylistic variety, innovative decisions and extended playing techniques are the main compounds of it. The music is completely based on free improvisation, avant-garde jazz and the fundaments of experimental music. Expressive bebop, extravagant post bop, steady relaxing cool, impressive free improvisations, European, American and Scandinavian avant-garde jazz streams are highly effecting whole sound. Each improviser has his own and original sound – it’s expressive, driving, inspiring and passionate. A fantastic, charming and dynamic melody line is the key of the compositions. Reeds by Anna Webber and Yuma Uesaka is the source of energy and innovative ideas gently integrated to musical pattern. Both improvisers combine together expressive melodies, vital sparkling solos, impressive spontaneous improvisations, sonoristic experiments and special effects. Soft, elegant and sweet flute is meeting emotional, thrilling and driving saxophones, deep and solemn bass flute, dynamic and dark bass and contralto clarinets. All these elements make an excellent combo of different kinds of tunes and millions of timbres. Music is changing and twisting every minute – vivid and expressive, dynamic or rigorous, frantic, angry, hysteric and growling, rough, tight, solemn, peaceful, meditative and abstract. The musical pattern is combined from different textures, colors and moods – all these elements are combined together in delightful, subtle and suggestive way. Certainly, that makes an effort to original, driving and expressive melody line. Electric and acoustic guitars are masterfully brought together. Edward Gavitt is mixing up synthetic tunes, special effects, modified timbres, sonoristic experiments of electric guitar and natural, inspiring, dynamic and thrilling riffs of acoustic guitar. Improviser manages to demonstrate wide and universal abilities of guitars of both types and create a suggestive, emotional, inspiring and original sound. Silent, ambient, dark, abandonned and sophisticated mood is effected by electric guitar – fantastic sonoristic experiments certainly make an effort to it. Gentle soft solos, elegant ornaments, transcendental passages, repetitive rhythmic series growing out to rising riffs, wild culminations and driving solos – that’s the keys of acoustic guitar which also is accompagnied by experimental ideas, inventive decisions and extended playing techniques. Deep, dark and steady bass line is against dynamic solos, impressive culminations, dizzy passages, colorful timbres, strange tunes, sonoristic experiments and contrasting pieces gently brought together – bassist Shawn Lovato surely knows the best way how to combine his own style, innovative point of view, modern conception of improvising and the will to create fresh, exciting and new sound. His music is emotional, expressive and bright. Load rolls, extremely poweful culminations, exotic gongs, exciting, moving and thrilling glockenspiel, gorgeous tunes, wide range of colorful and evocative percussion, frottings, tappings and other sounds which grow to wild culminations or suddenly calm down to meditative minimalistic samples – the drums section is rich, expressive and independent. Colin Hinton is using his creativity, masterful virtuosity and innovative point of view to create a fantastic and suggestive sound.

Jon Rose & Alvin Curran – “Cafe Grand Abyss” (ReR Megacorp, 2019)


Violinist Jon Rose and sound artist Alvin Curran got together to create an inspiring and exclusive sound. Their newest collaboration “Cafe Grand Abyss” is an excellent example of contemporary academical music and its main tendencies. Sound experiments, academic avant-garde, its innovations, modern decisions and traditions are connected to one place. Using their masterful virtuosity, creativity and splendid playing technique, musicians always manage to create evocative and bright sound. Their music is full of extravagant decisions, integration of main tendencies of nowadays contemporary academical music, the return back to the roots of modern classical music and eclectic stylistic combos of various styles.

“Cafe Grand Abyss” is based on the main fundaments of contemporary academical and experimental music. The elements related to concrete, spectral or sonoristic music are also used here. The compositions are based on modern conceptions, innovations, inventive musical decisions, vital expressions and difficult structure. A multi-layed musical pattern is constructed by using synthetic tunes, open and traditional forms, extended playing techniques and special effects. Individual style, original point of view and the will to create something new and exciting bring all kinds of sounds, tunes and rhythms to the compositions. Awakening, dynamic and modern violin is the source of vitality, drive and expression. Jon Rose is extracting wide range of timbres and tunes – from elegant and soft, tiny and sweet to rough, aggressive, sharp, dramatic, weird, murmuring, scratching, noisy, screaming, waining, shrieky or low, dreamy and solemn. All wide palette of timbres is extracted here – musician creates a colorful and rich texture, expressive musical language and gorgeous background. He’s open to new ideas, interesting combos, exotic rare tunes and modern innovations. His instrumental section is completely based on extended, rare, experimental and innovative ways of playing, special effects, modified timbres, research of strange tunes, expansion of technical abilities and fascinating sonoristic experiments. Dramatic, bright and luminous culminations are full of thrilling exciting solos, expessive vital melodies always accompagniedby textures, ornaments and expressions of all kinds. These pieces are highly contrasting to solemn, meditative, ambient, abstract, peaceful and silent excerpts which have enchanting, haunted, sometimes – dark, depressed or dreamy mood. Violin is the key line of the melody – its natural, sweet, dynamic and authentic tunes are against synthetic electronics and computer sounds. It’s also the source of awakening ideas, experiments, modern expressions and the basic of driving, colorful and independent melody line. Synth tunes, electronics, computer sounds, ambient, drone, out puts, in-puts, glitch, sonoristic experiments, field recordings and other similar playing techniques are beautifully mastered by Alvin Curran. That makes an effort to original, innovative and modern sound.

Pierre-Yves Macé – “Rhapsodie sur fond vert” (Brocoli, 2019)

Pierre yves mace rhapsodie sur fond vert

“Rhapsodie sur fond vert” is a great example of contemporary academical and experimental music, academic avant-garde, ambient, fields recordings and other similar genres. The music is evocative, full of fresh ideas, remarkable inventive decisions, original investigations and eclectic stylistic combos. Pierre-Yves Macé is the author of all the compositions. His music is completely based on the basics of contemporary academical music and its newest innovations. Modern ideas, extravagant and original expressions, innovative composing and playing techniques, rare exclusive combos and interesting instrumental section are the main compounds of it. The music is recorded by Cedric Juillon (Alto Clarinet, Bass Flute, Piccolo Flute), Maitane Sebastian, Nicolas Carpentier (Cello), Jeanne Robet (Field Recording), Guenole Keravec (Pipe) and Elsa Balas (Viola).

Electronics, sonoristic experiments, innovations, traditions and wide range of acoustics are brought together. This album is a greta example of putting together absolutely different styles, expressions and instruments. Synth electronics, modern and original sonoristic experiments, various field recordings, sonic system’s experiments and other electronics are gently combined together with natural, colorful and expressive timbres of acoustics. The musicians are paying much attention to sound experiments and inventions on various fields of musical language – especially on instrumental section. Here inventions, integration of original, rare or exotic playing techniques, strange timbres, synth tunes, special effects and extended playign techniques make a great organic combo. Interesting combos, eclectic stylistic pairs and experimentating in every way – the musicians are willing to create an exclusive and fresh sound. The music is dynamic and twisting – it has an independent melody line, bright rhythmic section, colorful background filled with electronics and coloristics of all ranges. Alto clarinet, piccolo and bass flutes keep the base of the melody line. Cedric Juillon is fusing all kinds fo playing techniques and experimental ideas. From sparkling culminations, frantic riffs, vital elegant solos, remarkable and expressive melodies accompagnied by flashing transcendnetal passages, soft glissando and other expressions, the music dives in deep contemplations, abstract pieces, minimalistic samples played in meditative mood, relaxing solemn excerpts with light and inspiring mood or sophisticated solos. One mood is changing another – finally that makes an sparkling and exciting sound. Deep slow tunes of bass flute are against exciting, thrilling, passionate and wild solos of alto saxophone, and shrieky waining or light, passionate and tiny passages of piccolo. This artsy and organic combination is effecting whole sound – an expressive and charming melody line and suggestive sound is created. Pipe’s tunes by Guenole Keravec gently fit together in this combo – it brings interesting, universal and multi-layed variety of styles, tnes and fascinating experiments. Strings section is strong, exciting and evaluating. Deep, sometimes sophisticated and dark, sometimes – passionate, moving and thrilling viola tunes meet two charming and dynamic cellos. Viola player Elsa Balas is experimentating on timbral and sonoristic section – her sound sometimes is abstract, tight, when it gets rough, angry, frantic, shrieking and waining, or calms down to murmuring and relaxing pauses. Frotts, wains, cracks, tight and extremely load timbres, same as special effects and sonoristic experiments are the main coloristics of her music. A cello duo is filled with extaravagant decisions and passionate sound. Here flowing passages, charming expressive melodies, vital thrilling solos, dynamic changes, explosing, roaring, frantic and noisy culminations meet the solemn episodes played in calm, relaxing, lyrical and contemplative mood and stable bass line. That makes an effort to suggestive and multi-colorful sound. Field recordings, sonic system’s experiments, computer and electronics sounds, synth tunes, special effects and other electronics are masterfully moderated by Jeanne Robet. These two contrasting layers – synthetic modern electronics and natural vital acoustics – are gently brought together and make an expressive, bright and inspiring sound.