Ken Ikeda & Edward Lucas – “Lost & Found” (earshots records, 2020)

“Lost & Found” was recorded by Ken Ikeda (sythesizers) and Edward Lucas (trombone, feedback). An album is a new release of “Earshots Records”. Evocative fresh ideas, original innovations, inventive musical decisions and modern expressions – that’s the base of the compositions. The musicians are getting on adventurous and luminous culminations joined to tremendous sparkling riffs or spontaneous solos. Both improvisers create a new exciting conception of avant-garde jazz based on fusion of American and European avant-garde jazz, its roots and innovations.

Avant-garde jazz, modern and experimental jazz, contemporary academical music, minimalistic samples and sonoristic experiments are gently brought together in “Lost & Found”. The compositions have a multi-layed and polyphonic pattern fullfilled with textures, gorgeous tunes, strange timbres and innovative instrumentation. Both musicians are doing their best to express dozens of different emotions and extract unusual, bright and original tunes. Here acoustics and electronics go along just fine. Deep cracking trombone by Edward Lucas keeps the melody line. The contrasting pieces highly contradicting to each other are joined – silent pauses, heavy groaning solos, slow or mid-slow melodies turning out to breaking sessions with growling, urgling, flashing and passionate solos, strange timbres, sonoristic experiments and hysteric exclamations. The music never stays the same for a long time – sometimes it’s like a murmuring lullaby or ascetic minimalistic samples, when it turns out to strictly arranged contemporary academical music or blends with astonishing and creative decisions, strange timbres and evocative ideas extracted by innovative and extended playing techniques. Blurry, lyrical and slow, furious and striking, stormy, frantic and exciting or simply passionate, light and moving – all kinds of colors and expressions are used here. A result is just fantastic – a driving, expressive and luminous melody line is created. The sonoristic experiments and interesting instrumental compilations are the main priorities of the improvisers – here’s a great example of acoustic’s and electronics fusion. Feedback by Edward Lucas and synthesizers mastered by Ken Ikeda make the whole musical pattern much more colorful and illustrative. Warm, natural and sensible trombone tunes are blended with synthetic and modern electronics of all ranges. Computer and synth tunes, mutes, in-puts, dubs, electronic devices sounds, field recordings, feedback, amplifications, alterations, sonic system modifications, strange timbres, sonoristic experiments and other electronics are highly used and subtly tinged with bright and eclectic trombone. The music of this album has an evocative and original sound.

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Dave Sewelson – “More Music for a Free World” (2020)

“More Music for a Free World” is a bright, luminous and passionate album recorded by Dave Sewelson (baritone saxophone), Steve Swell (trombone), William Parker (bass) and Marvin Bugalu Smith (drums). The innovators of avant-garde jazz scene integrate original and inventive musical decisions, surprising virages and impressive riffs to the musical pattern. All music is based on free improvisation and avant-garde jazz – it’s an organic fusion of traditional and innovative ways of improvising, extended playing techniques and typical artifacts of avant-garde jazz.

All four musicians do their best and improvise with passion and creativity. Each of them has a splendid and virtuosic playing manner illustrated with eclectic combos, gorgeous timbres and sonoristic experiments. Saxophonist Dave Sewelson and trombone player Steve Swell keep the basics of the melody line. It’s bright and inspiring filled with contrasting pieces and huge diversity of styles. Dave Sewelson is moderating a wide range of styles and universal instrumental kit – his music is changing and twisting all the time. Expressive vital melodies vs. rigorous dark pieces, virageous light solos, transcendental passages and stable monotonous sessions, breaking riffs, tremendous culminations or relaxing silent pauses – absolutely different moods are changing each other in no time. Sonoristic experiments, strange timbres, extended playing techniques and innovations are brought together with typical compounds related to bebop, post bop, hard bop and other modern jazz styles. Contrasting, bright and dynamic saxophone and its impressive riffs, breaking sessions and driving solos gently fits together with sparkling, cracking and sometimes solemn and relaxing trombone. Steve Swell is a masterful improviser who has his very own style and unique sound. All his music is completely based on free improvisation – here he makes surprising musical decisions, switches between different moods and gets on brave adventurous musical experiments. Silent, trembling or cracking solos with heavy deep pieces or minimalistic samples are rushing to vibrant strikes, hot thrills, full blasts and sparkling riffs. Here flowing passages, glissando, roaring aggressive perturbations and radiant culminations make an effective and original sound. Both musicians are masterfully reacting to each other’s playing – when the ona is rushing on striking culminations or suddenly bursts in frantic hysteric riffs, another keeps calm and relaxing mood. The improvisers are using their vitality, creativity and spontaneous solos to create a driving, bright and independent melody line. A double bass mastered by William Parker is a source of colors and expressions of all ranges. From stable bass line to deep sonoristic experiments striking on vital passionate solos, remarkable melodies, extravagant decisions and breaking culminations – modern, contemporary and avant-garde jazz styles are brought together in evocative and organic way. Drums section created by Marvin Bugalu Smith is bright and dynamic – nervous splashes, complicated expressive rhythms, aggressive beats, splendid virtuosity, sparkling riffs and tremendous culminations are the parts of free improvisation. The music of this album has an innovative and bright sound.

Evan Parker – Paul Lytton – “collective calls (revisited) (jubilee)” (Intakt, 2020)

“collective calls (revisited) (jubilee)” is the newest release of “Intakt Records”. The music was recorded by a duo – saxophonist Evan Parker and drummer Paul Lytton. The muisicians are the central figures of international avant-garde jazz scene. They create a music which is toally based on free improvisation, avant-garde jazz and some typical elements of modern jazz styles. An effective and expressive playing manner, extended playing techniques, the will to create something new and exciting are the main compounds of their compositions.

We have a great occasion to hear out two featured jazz masters playing together in “collective calls (revisited) (jubilee)”. The musicians are developping their own styles and playing techniques – wide kit of instrumentation is used. Exotic, extended, new and original ways of playing, sonoristic experiments and traditional playing techniques are brought together. The musicians succesfully blend together fusion, bebop, post bop, hard bop and the basics of avant-garde jazz. Abstract and bright free improvisation is filled with roaring riffs, driving culminations, breaking sessions and elegant flowing passages. Evan Parker has an exclusive, bright and expressive playing manner. His music is based on the fundaments of avant-garde jazz and free improvisation. An improviser makes sudden changes, dynamic turns, eclectic stylistic virages and surprising decisions. A contrasting pieces are brought together – from deep silence, solemnity and relaxation the music gets annoyed and aggressive, fullfilled with radiant perturbations, hot thrills, aggressive growls and full blasts. Flowing transcendental passages, strange timbres and gorgeous ornaments also are important compounds of the musical pattern. A wide range of colors, tunes and expressions is brought together to make an effective, bright and luminous sound. Evan Parker makes the musical pattern more colorful and expressive filled with virages, eclectic combos and driving surprising culminations. He also makes an independent and remarkable melody line. Drummer Paul Lytton makes a great dialogue between the melody line and rhythmic section. His drums section is as much interesting and driving as the melody line. From expressive vital solos to roaring breaking sessions, trembling tremolo, vibrant riffs and passionate light virages – the rhythmic figures related to bebop, post bop, neo bop, and other modern jazz styles are integrated to moving, inspiring and luminous free improvisations. Sparkling virtuosity, breaking sessions, expressive vitality and creativity makes an effort to bright, driving and luminous rhythmic section. Both musicians are masterfully reacting to each other’s playing – together they create an inspiring, thrilling and passionate sound.

Laurent Estoppey feat. Ensemble Vortex + guests – “QUADRILATERE Live” (Thödol Records, 2020)

“QUADRILATERE Live” is a new album recorded by “Ensemble Vortex” and guests – Laurent Estoppey (saxophone, électronique), Christian Gaucher Garcia (electric guitar), Michaël Grébril Liberg (cetera oscura, field recordings, laptop), Yann Lecollaire (clarinet, electronics), John Menoud (laptop), Benoit Moreau (laptop), Thomas Peter (objets, electronics) and Louis Schild (electric bass). Large group of featured musicians and improvisers are open to new and evocative ideas, their very own and unique conception and have brand new sound. The music always is interesting, virageous and based on wide range of instruments, synthesis of acoustics and electronics, innovative instrumentation and stylistic variety.

“QUADRILATERE Live” is based on wide range of styles, expressions, moods and playing techniques. Large group of musicians finds the best way how to combine innovations and traditions, extended and usual playing techniques, special effects, sonoristic experiments, synthetic electronics and natural warm acoustics – each element has its own place in the musical pattern. An innovative and colorful instrumentation is created – the relations with contemporary academical music, academic avant-garde jazz, sonoristic, spectral and concrete music are joined together with the basics of free improvisation and avant-garde jazz. All the instrumental sections are masterfully developped and have their own character. The musicians try out different instrumental compilations – some of the mare exotic, unusual, original and simply surprising. Reeds section varies from soft gentle flutes to vivid clarinets, expressive saxophones and deep rough bass clarinets. These instruments gently fit together with multiply and wide strings section – exclaiming vital violins, calm relaxing alto, charming remarkable cello, stable heavy double bass, electric bass and electric guitars are brought in one place. Huge range of percussion filled with gorgeous ornaments, strange timbres, exotic combos and expressive solos contain the basement of the rhythmic section. The music is dynamic and vital. Expressive, bright and luminous clarinets, deep bass clarinet and driving saxophone blast on roaring exclamations, breaking sessions, growling thrills, radiant spills of energy and flowing passages. Shrieky violins, luminous culminations and persecuting sessions by violins bring even more drama to these episodes – these pieces are rapid, bright and luminous, filled with vitality, frantic and aggression. Soft relaxing flutes moderating to whistling or cracking solos open the other side of the compositions – more academical, lyrical and relaxing. Along with flutes, alto, double basses and violoncello are used. Deepness and solemnity are brought in by double bass and alto. A cello is an universal instrument – it makes the melody line alive, crazy and virageous, and brings exciting, strange and unusual timbres to the background and rhythmic section. A large group of acoustics is based on wide range of playing techniques and sonoristic experiments – the musicians are using universal kit of instrumentation which also effects whole sound. So sometimes the music is shrieky, bright and evocative, more similar to strictly arranged piece, when it fills with impressive riffs, spontaneous solos and breaking free improvisations. The acoustics wouldn’t make such effective sound if there was no electronics – laptops, sound machine’s experiments, electric bass, drone, glitch, in-puts, dubs, amplifications, fields recordings, cetera oscura and other playing techniques related to electronics, spectral, concrete or sonoristic music are widely used here along with acoustics. That makes a strong relation to contemporary academical and experimental music, especially. The music of this album is made with passion, creativity and invention – it has effective, vital and modern sound.

ENSEMBLE VORTEX
2018
Patrick Schleuter – violin
Rada Hadjikostova – violin
Elsa Dorbath – cello
Tomas Fernandez – double bass
Anne Gillot – bass clarinet, flutes
Emilio Guim – electric guitar
Maximilien Dazas – percussions

2019
violin ­– HannaH Walter
alto – Benoit Morel
cello – Aurélien Ferrette
double bass, electric bass – Jocelyne Rudasigwa
bass clarinet, flutes – Anne Gillot
electric guitar – Emilio Guim
percussions – Maximilien Dazas

 

Pandelis Karayorgis, Nate McBride, Damon Smith, Luther Gray, Eric Rosenthal – “CliffPools” (Driff Records, 2020)

Pandelis Karayorgis (piano), Nate McBride (bass), Damon Smith (bass), Luther Gray (drums) and Eric Rosenthal (drums) – these are the members of “Double Trio”. Masterful virtuosity, splendid expressive playing technique, the fundaments of avant-garde jazz are the basics of their music. The musicians are showing their capacities of improvising, getting on eclectic fusions and brave decisions. Sonoristic experiments and research of strange timbres also are used frequently in their compositions.

“CliffPools” is the newest album recorded by “Double Trio”. It’s – bright, eclectic and extravagant. Here strange tunes, evocative ideas, modern expressions, rich and exciting musical language and innovative instrumentation go along just fine. The musicians are balancing between astonishing experiments, surprising decisions and sudden turns. From very well-known and effective ways of playing they get on brave risky culminations, make ambitious, bright and original decisions or research to new, extravagant and exotic playing techniques. Piano is the center of the melody line. Bright expressive melodies, flying transcendental passages, impressive driving  riffs turn out to exciting exaltations, breaking sessions, hysteric frantic solos accompagnied by shrieky monotonous sequences – all these elements make an effort to bright, eclectic and driving sound. The melody line is contrasting and dynamic – active vital episodes, full blasts, spills of energy, aggressive pieces filled with anger and shrieky sessions are highly contrasting to silent lullabies, monotonous relaxing solos with repetitive series, minimalistic samples played in haunted, dark, depressed or solemn and light mood. The huge variety of colors, moods and expressions gently brought together makes the music unpredictable, surprising and bright. It’s impossible to predict where’s it going to turn next minute. Piano certainly is the soul of driving, exciting and inspiring melody line – rhythmic section and background contained by two basses and drums are as much interesting and intriguing as the melody line. At first, basses form a stable bass line. Repetitive series, stable tunes, lonely persecuting sounds mixed with strange timbres and sonoristic experiments make an effective and interesting sound. Vibrant tunes, deep sounds similar to ambient or drone, strange tunes extracted by using extended, home-made or exotic playing techniques also are very important attributes of the compositions. There are many stylistic virages and moods changes – the music gets annoyed and nervous, vital and frantic, filled with rapid sessions or breaking riffs, when dives in deep, solemn and slow mood. Drums section is bright and eclectic – contrasts, the typical rhythmic figures related to contemporary and modern jazz styles and integrated into abstract free improvisations with impressive passages, radiant riffs and breaking sessions. The musicians are using their curiousity and invention to create and multiply, colorful and expressive rhythmic section. The music of this album is totally based on free improvisation and avant-garde jazz and related to various modern and contemporary jazz styles, Scandinavian and American avant-garde jazz streams and some tunes of contemporary academical music.

Lina Allemano solo trumpet – “Glimmer Glammer” (Lumo Records 2020)

“Glimmer Glammer” is the newest release of “Lumo Records”. It’s the first solo album recorded by featured saxophonist Lina Allemano. An improviser developpes her very own style and original ways of playing. The music is completely based on free improvisation and avant-garde jazz. Lina Allemano had been improvising with numerous of other famous jazz stars, she composes the music for “OHRENSCHMAUS” and “LINA ALLEMANO FOUR”, also is the leader of “TITANIUM RIOT” and “BLOOP”, and an active member of “CLUTTERTONES”.

In “Glimmer Glammer” an improviser demonstrates her very own and original playing style and expressive playing manner. Traditional, experimental, inventive and exotic ways of playing brought together – some of them are frequently used by other jazz masters, the others were invented by improviser. The music is bright and expressive – has a multi-layed, multiphonic and vital musical pattern, twisting turns, dynamic changes and strong contrasts between the episodes. An improviser isn’t using any electronics or dubs – all the sounds and strange timbres are extracted naturally. From clair, bright and evocative beginning with expressive vital melodies and passionate solos the music gets annoyed and anxious, sometimes – furious, aggressive and frantic. Vibrant perturbations, radiant breaking sessions, wild culminations filled with wainings, urglings, shrieky exclamations and transcendental passages are very frequently used. From the active and dynamic mood the music gets silent and relaxing – murmuring lullabies, tiny gentle ornaments, strange timbres, ascetic or depressed samples, minimalistic tunes, repetitive series and sonoristic experiments contain the main part of it. The musical pattern is rich and bright – bright melody line, driving riffs, dynamic rhythmic section, gorgeous background and innovative instrumentation are the main compounds. As it was mentionned before, Lina Allemano makes a nice fusion of wide range of playing techniques. “Shimmer” was created by using a cookie tin as a home-made resonator. “Clamour” filled with multiphonics is completely based on extended playing techniques and circular breathing. “Glimmer Glammer” also has an effective and bright sound – large variety of extended playing techniques in the right hand multiply used and mixed together with various materials in the left hand playing. Resonators, extended and innovative playing techniques, sonoristic experiments and some old and very well-known ways of playing make a great result – the music of this album is inspiring, emotional, sensible, thrilling and driving. The music is based on free improvisation and open form – expressive complicated bebop, frustrating and rigorous hard bop, extravagant post bop, other modern jazz styles, the basics of experimental music and academic avant-garde are integrated to the fundaments of avant-garde jazz and luminous breaking free improvisations.

Torbjörn Zetterberg & Den stora frågan – “Are You Happy?” (Moseroble Music Production, 2020)

“Are You Happy?” is a new album recorded by Torbjörn Zetterberg & Den stora frågan. A large group of musicians is experimentating on various fields of musical language – Alberto Pinton (clarinet, baritone saxophone), Torbjörn Zetterberg (producer, compositions, double bass), Lars Skoglund (drums), Jon Fält (drums, glockenspiel), Alexander Zethson (organ, electric piano), Jonas Kullhammar (tenor saxophone, alto saxophone, flute), Mats Äleklint (trombone) and Susana Santos Silva (trumpet). The musicians are the central figures of experimental jazz scene. Innovative and original Scandinavian avant-garde jazz and the roots of 1960’s avant-garde jazz are joined together in their music. 

The compositions of “Are You Happy?” are based on various open forms which are the main compounds of the compositions. Torbjörn Zetterberg is an author of the compositions. His music has a modern musical language illustrated by extravagant original ideas, evocative or radical decisions and a fusion of Scandinavian avant-garde jazz and experimental music. A composer synthesizes various open and traditional forms – that’s the base of free improvisations. Even though the compositions are already arranged, there’s much place left for improvisation and sonoristic experiments. Each musician has a right to improvise on his own, without any frames or force. They’re frequently diving in outrageous, original and exclusive experiments, contemplative pieces or getting on spontaneous solos, risky culminations and driving riffs. The reeds section is bright and expressive. Clarinet, saxophones of various ranges and flute make a great combo. Soft, fragile, gentle and elegant tunes are brought by flute. It’s the source of vitality, gorgeous ornaments and soft pieces. These episodes are frequently changed by whistles, shrieking persecutions, wild exclamations and sharp tunes. Clarinet, tenor saxophone and alto saxohpone are filled with vividness and spontaneous solos. Silent lyrical pieces growing on terrific culminations, wild driving riffs, full blasts and rigorous frantic blow outs bring moving, active and dynamic sound to the melody line. Transcendental passages, dizzy flowing ornaments, gorgeous timbres, strange tunes, speical effects and sonoristic experiments accompagnie the main melody line all the time and make an especially colorful and multi-layed background. Active, dynamic, passionate and driving clarinet and saxophones are contrasting to deep and a lot more stable baritone saxophone – slow solos frequently played in meditative and solemn mood go down to haunted dark pieces or become light, sensible, vibrant and terrific. Luminous culminations, full blasts and expressive melodies vs. deep solos and stable bass line – this strongly contrasting combo is expressed by baritone saxophone. Hot sparkles, urgling, waining or growling solos, full blasts, remarkable enchanting melodies accompagnied by persecuting sessions, breaking riffs, hysteric exclamations and driving culminations – that’s the base of trumpet’s improvisations. In addition, there comes special effects, strange timbres, ornaments and sonoristic experiments of all ranges. Deep stable trombone flashes in tremendous culminations, passionate solos and terrific breaking sessions. The reeds and brasses are the basics of the melody line which is driving, sparkling and expressive. Organ and piano tunes are brought here also – it makes an universal and colorful sound. Specific, original and dynamic organ is contrasting to expressive and luminous piano, its breaking sessions, passionate vital ornaments, persecuting sessions and impressive free improvisations. Piano and organ go along just fine together. A stable bass line is created by double bass which is also a great instrument to experiment and extract new tunes and extravagant ideas. Subtle pieces, meditative mood, minimalistic samples integrated to spontaneous solos, impressive fantastic improvisations, roaring riffs, vibrant persecutions, radiant melodies and sonoristic experiments – the music is formed on the basics of avant-garde jazz and experimental music. Drums of all ranges and glockenspiel form a firm and independent rhythmic section that is as much interesting and driving as melody line. Dynamic turns are everywhere – slow bumps, stable beats changed by extravagant and modern rhythms, expressive rhythmic series, breaking sessions and luminous culminations. The  rhythms related to modern, contemporary and experimental jazz styles are brought here. Tiny, gentle and colorful glockenspiel’s tunes colorfully illustrate whole musical pattern. “Are You Happy?” is a mix of experimental, avant-garde and modern jazz, totally based on the innovations of Scandinavian avant-garde jazz and related to experimental music, academic avant-garde and other similar genres. It’s touching, inspiring and passionate.

FIDOqrtet – “FIDOqrtet” (Enna, 2020)

“FIDOqrtet” was recorded by ensemble “FIDOqrtet” which members are Maryanne de Prophetis (voice), Shoko Nagai (piano/processor), Ron Horton (trumpet/flugelhorn) and
Dean Johnson (bass). An ensemble creates the music on the strong basics of avant-garde jazz and its main compounds. Free improvisation, sonoristic experiments, investigations, research to new or strange timbres, dynamic turns, contrasts and the links to bebop, hard bop, other modern jazz styles and etc. From the fundaments of American avant-garde jazz and Western Europe contemporary academical music, the musicians find the link to Asia, its culture and the main elements of Japanese ethnic music. By using their knownledge, creativity and fantasy, the musicians create an album which also is a bridge between European and Asian cultures.

The newest album of “FIDOqrtet” is filled with extravagant decisions, modern ideas and dynamic turns. The music is based on free improvisation and experimental jazz. A wide stylistic range is created – the improvisers combine together Western Europe academical music, American avant-garde jazz and Japanese ethnic music. This interesting fusion is filled with exotic tunes, specific intonations, gorgeous ornaments typical to Asian music, Japanese improvisational and ethnic music. There’s no line between these two cultures – the musicians passe from one style to another without any force. After diving in subtle, relaxing or meditative pieces, abstract free improvisations, roots of 1960’s avant-garde jazz, the musicians get on exotic, bright and interesting melodies filled with flowing passages, specific intonations, original chords and other elements which contain the base of Asian music. The music is bright and luminous – sometimes it’s sparkling and thrilling, furious and aggressive, exclaiming or simply gentle, tight, childish and playful. Different kinds of moods, expressions and instruments are brought together to make an universal, multi-layed and colorful musical pattern. Bright eclectic trumpet and enchanting flugelhorn bring vital, luminous and dynamic sound. Growls, urglings, wainings,  expressive melodies with rapid solos and flowing passages are the main basics of trumpet’s improvisations. From silent pauses, lyrical contemplations, meditative minimalistic samples the music jumps on thrilling solos, full blasts, roaring perturbations or sparkling riffs. Emotional and driving trumpet is contrasting to more lyrical and gentle flugelhorn – here remarkable melodies and free improvisations are accompagnied all the time by strange timbres, special effects, gentle passages, colorful fragile ornaments and other similar elements. A vocalisation is another very important aspect which makes an effort to whole sound. Free improvisation is brought together with expermental music, the main elements of traditional Japanese music and Asian culture. Interesting investigations, calm relaxing solos passing to striking culminations, vibrant thrills, emotional trills illustrated by whispers, shouts, wains and other spoken elements. Vocalisation is made with invention and fantasy – huge range of colors and expressions of all kinds is created. Voice really is the main accent and the soul of the melody line – it’s like a bridge which joins together exotic, eclectic and original Asian music, impressive free improvisation and the basics of avant-garde jazz and experimental music. Piano melodies illustrated by processor’s tunes are bright and dynamic – driving riffs, breaking perturbations, lyrical meditations and relaxing pieces played in especially expressive and emotional playing manner make an effective and variable sound. Special effects, strange timbres, computer sounds, synth tunes and other elements produced by processor, gently fit together with driving, passionate and dynamic piano. Deep, tight and stable bass line vs. radiant riffs, vibrant perturbations, impressive solos and enchanting melodies – that’s the base of bass improvisations. The music of this album is based on huge diversity of musical language’s elements and large knownledge – the musicians together create an innovative and inspiring sound.

Ensemble X|Artblau – “BIG ENSEMBLE IMPROVISATION” (2020)

“BIG ENSEMBLE IMPROVISATION” is a great album recorded by “Ensemble X” and “Artblau”. These two large ensembles are creating interesting and luminous free improvisations. The music is full of evocative and original ideas, inventive decisions, passionate thrills, impressive riffs and contrasting pieces. The contrasts which are strongly expressed, are played in touching and emotional way – darkness and light, abstract free improvisation and strictly arranged piece, tiny fragile ornaments vs. roaring sparkling riffs and vibrant perturbations. The musicians are demonstrating the best playing manner, splendid virtuosity and invention to create an inspiring, bright and original sound.

“BIG ENSEMBLE IMPROVISATION” compositions have a difficult structure – the main musical pattern which is colorful, multi-layed and polyphonic, is based on independent melodies, bright sections and gorgeous bacgkround. Each instrumental section is developping his very own sound and melody – all musicians have an opportunity to express millions of moods, experiment on various fields of musical language and develope their brand new sound. Eclectic stylistic combos, exotic tunes, strange timbres, special effects, flowing passionate passages, experimental and original playing techniques contain an innovative and dynamic instrumentation. Reeds section brings vividness, expression and vitality. Remarkable bright melodies with contrasting pieces, enchanting passages, gorgeous ornaments, hot growls, urgling and waining solos grow directly to roaring blow outs, full blasts and tremendous culminations. More energy, drive and passion are brought in by brass section – growling, perturbating and dizzy passages, bursting splashes, buzzing, urgling and vibrant trumpet’s solos are contrasting to deep heavy trombone and dark tuba sound. Brass and reeds sections are highly contrasting to each other – roaring, bright and perturbating trumpets, roaring sparkling trombones, deep heavy tuba, other instruments of brass section are contrasting to expressive, light and flowing reeds. Two pianos and spinett bring energy, drive and life to the compositions. Modern expressions, driving riffs, persecuting sessions, wild tremendous culminations or calm relaxing pieces are the main basics of piano music, which is completely based on free improvisation and avant-garde jazz. A spinett is like an artifact from the earlier ages – ancient traditions, original sound and subtle turns are integrated to bright, eclectic and vital free improvisation. Strings section is evocative and bright – exclaiming, hysteric or expressive violins, deep subtle viola’s, charming, remarkable and contrasting cellos and heavy vibrant bass are the main fundaments of it. Percussion and drums of all kinds are used in rhythmic section – expressive vital bebop, extravagant post bop, aggressive hard bop, luminous impressive riffs, sparkling culminations and special effects are the main parts of this section. Vocalisation and acoustics gently fit together with electronics and catalysator’s sounds – special  effects, drone, glitch, strange timbres, ambient, shouts, whispers, exclamations, squeezing or splashing sounds are gently brought together. The music of this album is inspiring, bright and innovative.

Ensemble X 2018:

Tiziana Bertoncini (Violin), Xavier Charles (clarinet), Elisabeth Coudoux (violoncello), Nicolas Desmarchelier (guitar), Carl Ludwig Hübsch (tuba, catalysator), Harald Kimmig (violin), Dirk Marwedel (saxophone), Matthias Muche Posaune, Ulrich Phillipp (bass), Christoph Schiller (spinett), Angelika Sheridan Flöten, Michael Vorfeld (percussion), Eiko Yamada Blockflöten, Philip Zoubek (piano)

Artblau:Artblau:

Carl Ludwig Hübsch (tuba, voice), Akiko Ahrendt (violin), Elisabeth Coudoux (violoncello), Leonhard Huhn (saxophone), Angelika Sheridan (flutes), Salim Javaid (saxophone), Matthias Muche (trombone), Philip Zoubek (piano), Constantin Herzog (bass), Etienne Nillesen (percussion).

Gard Nilssen’s Supersonic Orchestra – “If You Listen Carefully The Music Is Yours” (Odin, 2020)

“If You Listen Carefully The Music Is Yours” is an innovative and bright album based on experimental jazz and free improvisation. An excellent album was recorded by “Gard Nilssen’s Supersonic Orchestra”. A large jazz orchestra is based on professional and talented jazz masters who have their own style and sound. All the members are the central figures of avant-garde and experimental jazz scene – the music is full of extravagant, radical or provocative musical decisions, modern expressions, interesting investigations and extended playing techniques. From sparkling riffs to light elegant pieces, tremendous culminations to vital tiny passages, silent pauses or passing to meditative and relaxing mood – the music is balancing from one mood to another and joins together strong contrasts and stylistic virages.

The compositions of “If You Listen Carefully The Music Is Yours” is based on free improvisation and the fundaments of avant-garde jazz. Scandinavian, European and American avant-garde jazz, experimental jazz’s innovations and astonishing sonoristic experiments, eclectic combos and colorful expressive instrumentation – that makes an effort to original and inspiring sound. An ensemble has strong and independent instrumental sections. Reeds section is contained from saxophones and clarinets of various ranges. The musicians create expressive moving melodies with swirling, whistling, roaring or growling riffs, gorgeous ornaments and extremely rapid passages. Shrieky exclamations, rigorous blasts go along with dynamic turns, lyrical contemplations, strange timbres, sonoristic experiments and elegant tiny pieces played in calm and relaxing mood. The reeds bring dozens of colors, expressions and inventive decisions to the main musical pattern. An expressive mood is leading almost everywhere, the musicians are demonstrating suggestive, touching and expressive playing manner. Trumpets and trombones are the main compounds of brass section. It’s a mix of vigilance, aggression, sharp perturbating sessions, persecuting series, scratching, dizzy, swirling, dazzling or roaring solos, driving incredible riffs, impressive passages contrasting to deep, heavy and monotonous trombone. This section is the source of energy and contrasts. Tremendous culminations, hysteric exclamations played in aggressive or frantic mood meeting playful, gentle, light, childish or relaxing and meditative tunes – the musicians manage to mix together wide range of colors and playing techniques to create an incredible and exclusive sound. Three double basses form tight and stable rhythmic section, and are contrasting to luminous, driving and passionate reeds and brasses. Heavy deep pieces, minimalistic samples, lyrical meditations diving down in haunted, dark and depressed mood with trembling tunes, strange timbres and monotonous series. The music suddenly rises on sparkling riffs, energetic moving solos, remarkable melodies played in active and vivid mood. Drums and percussion of all ranges contain a strong and bright rhythmic section. Eclectic combos, rare and exotic instruments, original instrumental compilations, extravagant investigations, original instrumentation – the musicians are using their own conception, an effective playing technique, original point of view and wide musical knownledge to create a passionate and moving rhythmic section. The music is inspiring, moving and driving.

The members of “Gard Nilssen’s Supersonic Orchestra”:

Hanna Paulsberg: tenor saxophone, percussion
Kjetil Møster: saxophones, percussion
André Roligheten: saxophones, bassclarinet, percussion
Per “Texas” Johanson: tenorsaxophone, contrabass clarinett, clarinet, percussion
Maciej Obara: altosaxophone, percussion
Mette Rasmussen: altosaxophone, percussion
Eirik Hegdal: saxophones, clarinet, percussion
Thomas Johanson: trumpet, percussion
Goran Kajfes: trumpet, percussion
Erik Johannesen: trombone, percussion
Petter Eldh: doublebass, percussion
Ingebrigt Flaten: doublebass, percussion
Ole Morten Vågan: doublebass, percussion
Hans Hulbækmo: drums, percussion
Håkon Mjåset Johansen: drums, percussion
Gard Nilssen: drums, percussion