Hans Peter Hiby – “Roots” (Not Two Records, 2017)

“Roots” was released in 2017 by “Not Two” records. This avant-garde jazz album was recorded by Hans Peter Hiby (alto and tenor sax), Michael Bardon (bass) and Paul Hession (drums). All these three musicians are interesting and original jazz masters. Their improvising style is based on extraordinary musical decisions, spontaneous solos, inventive and shocking instrumentation and wide range of different musical expressions and styles. Their improvisations sound is very variable and dynamic – loud, expressive, energetic and turbulent solos are connected with soft, subtle and lyrical mood episodes. Three musicians formed and masterfully improved original playing manner, dynamic sound and vivacious improvising. Musicians had been improvising together many times before and recorded albums as a trio and also collaborated with other jazz musicians – Peter Kowald, Paul Rodgers, Dieter Manderscheid, Martin Theurer, Paul Rutherford, Peter Brotzmann and many others.

This album compositions reveal the original playing manner and especially expressive sound of all three musicians. Turbulent, expressive, vital and loud collective improvisations are based on wide range of unusual timbres, strange noises, shocking and experimental ways of playing, rich, vivacious and adventurous musical language. Sudden stylistic changes, absolutely different musical expressions and playing techniques are masterfully combined together in one composition. Musicians like brave and shocking musical experiments – they expand from the traditional and usual zone of sound and improvising. Interesting, spontaneous and striking solos, vivacious and expressive melodies, very well-known methods of playing are mixed together with innovative playing techniques. Saxophones melodies are full of bright and vivid sound. Wild fast, furious and especially sharp solos, loud, powerful and turbulent blow-outs and fascinating riffs brings very much energy and live to these improvisations. Bass melodies are the opposites to the saxophone – it has many subtle and silent episodes, very much unusual and strange timbres, vibrant and intense solos. Intense and vibrant bass solos, virtuosic pizzicato, glissando, various spontaneous solos are marvelously mixed together with extravagant and sharp saxophone melodies. Drums improvisations also are especially expressive, dynamic and emotional – various kinds of rhythms are masterfully used in these compositions. Energetic, vibrant, turbulent and vivid drum rolls, loud and powerful arpeggios and tremolo mixed with wide range of unusual, colorful and gorgeous percussion sounds. Interesting and dynamic rhythmical improvisations gently fit together with saxophones and bass, and also form colorful and solid rhythmical basic and background of the improvisations. Big palette of various colors, sounds, timbres, tones and noises are heard in these compositions. The improvisations are based on free, not strictly-based structure and form – independent and individual melodies which are absolute opposites to each other, are put together one against other. Big amount of contrasts, musical expressions, playing techniques, moods and characters are the main elements which make an effort to essential sound and basement of these compositions. Rich, bright and adventurous musical language, innovative improvising make original and modern sound of this album compositions.


Peter Ablinger – “Verkundigung” (Huddersfield Contemporary Music Records, 2017)

HCR 14 cover

“Verkundigung” was released in 2017 by “Huddersfield Contemporary Music Records”. Compositions which were composed by Peter Ablinger, are recorded in this album by Gisela Mashayekhi-Beer (flute), Marcus Weiss (tenor saxophone) and Hildegard Kleeb (piano). These three interesting and experienced musicians mostly are performing the works by various contemporary music composers – George Aperghis, Vinko Globokar, Helmut Lachenmann, John Cage and many others. Outstanding, precisely and vivacious composing style, passionate playing, fascinating sound and rich musical language by all these three musicians create original and interesting sound of these compositions. Peter Ablinger is a German composer which music is based on academic avant-garde, free improvising and the synthesis with various modern academical music styles. Expressionism, impressionism and post-impressionism, dramatic and expressive sound, masterful combination of different composing techniques, splendidly made orchestration and rich musical language create original and innovative compositions. Composer try to extract new, unusual and different composing techniques, timbres, sounds of the instruments and expand their technical abilities. The main part of his compositions are dedicated for chamber ensembles, symphony orchestras, but he also writes music for solo piano, duets, trios, quartets or other instruments combinations. The sound of Peter Ablinger compositions mostly is very touching, interesting, passionate, emotional and effective. Very well known playing techniques such as serialism, dodecaphony and others, are mixed together with experimental ways of playing, own and self-created methods of composing and academic avant-garde elements. Musical experiments, shocking and provocative musical decisions, special sound effects, marvelous instrumentation, vivacious musical language create original sound of his compositions.

The compositions of this album are based on academic avant-garde and free improvisation. “Verkundigung” (studio recording, 2001), “Verkindigung” (live recording, 1998) and “Verkindigung” for 7 saxophones, 7 flutes and 7 pianos” (studio recording, 2001) are recorded in this album. These 3 different and interesting compositions have original and contrasting sound. All album compositions are based on modern musical language, which is formed by different musical expressions, playing techniques and instrumentation decisions. These compositions musical pattern is based on polyphonic structure and form, independent melodies, sharp harmony and vivacious sound. Serialism, puantilism, free improvisation are gently fused together with basic academic avant-garde elements, experimental music and other methods of composing. The composer experiments a lot in instrumentation – he make innovative and extraordinary musical decisions which bring vivacious and expressive sound to these compositions. Extended playing techniques are used a lot in all these compositions – various extraordinary and unusual ways of playing create wide range of strange timbres and sounds. All three versions of “Verkindigung” differ from each other – the first one (studio recording) sounds less naturally and has the best sound quality. The second version – live recording which was recorded in a chapel – has effective, natural and expressive sound. Vivacious solos, expressive and memorable melodies, free improvisations episodes create more interesting sound of this composition than the first one. The third version of this composition which was also recorded in the studio and is dedicated for 7 flutes, 7 pianos and 7 saxophones, mostly have the same sound like studio recording, but some electronic music sounds and special effects are added very professionally to this one. Because of the electronic music and special effects this composition have innovative, modern and extraordinary sound. This composition is based on contrasts – vivacious, vital and joyful flutes solos, expressive and emotional piano melodies, contrasting and dynamic saxophone solos and spontaneous improvisations of all three instruments are connected with silent, soft, peaceful and restful episodes. Different moods, characters, playing techniques and musical language elements are masterfully connected in one place. Composer express many different moods which are changing each other and create dynamic and constantly changing sound. Adventurous sound, expressive and modern musical language, own and unique composing style of Peter Ablinger create innovative and interesting sound of this composition.

William Parker Quartets – “Meditation/Resurrection” (AUM Fidelity, 2017)

“Meditation/Resurrection” was released in 2017 by “AUM Fidelity”. This interesting avant-garde jazz double album was recorded by a group of famous jazz masters – William Parker (bass), Hamid Drake (drums), Rob Brown (alto saxophone), Jalalu-Kalvert Nelson (trumpet in album 1), Cooper-Moore (piano in album 2). The music played by these five jazz masters, always have interesting and active sound. Energetic and vivacious solos, expressive and especially emotional playing manner, unique and fascinating sound, original and spontaneous improvising, inventive musical decisions – all these elements are masterfully mixed together in their improvisations. The musicians had been played together many times before this one – their collective improvisations have expressive playing, their own and independent playing styles and melodies gently fit together in one composition. These five jazz musicians are famous and active musicians of avant-garde jazz scene – they had been playing and collaborating with Cecil Taylor, Don Cherry, Milford Graves, Fred Anderson, Archie Shepp and many others famous jazz musicians.

This album compositions have many different sounds, sudden changes of styles, high variety of musical expressions and other musical language elements. Compositions of 2 albums are based on collective improvisations, spontaneous and wild fast solos, energetic and expressive melodies which bring to the album dynamic and vivacious sound. Musicians are improvising creatively, free and especially expressive. All compositions combine elements of many different music styles. Though all the music and improvisations are based on avant-garde. free-jazz, creative jazz and other experimental jazz styles, there are heard many sudden and extraordinary stylistic waves and changes. The elements of various modern jazz styles, especially – bebop, post-bop and hard -bop – and also some elements of cool jazz, contemporary jazz, intonations of traditional jazz styles are heard in these improvisations. Very expressive and emotional saxophone solos, bright, adventurous and outstanding trumpet improvisations (in album 1), subtle and vibrant bass solos, active, dynamic and sharp piano melodies (in album 2) and very contrasting and constantly changing drums are the main elements of these improvisations. Though the main mood of the compositions is very active, touching and expressive, it suddenly turns out to soft, calm, slow and peaceful improvisations. These episodes are based on static rhythmic, slow and restful saxophone solos, soft and gorgeous harmony and other similar elements which bring contemporary, cool jazz and traditional jazz styles elements to these compositions. The most effective episodes are speedy, active, especially expressive and turbulent collective improvisations – there the musicians improvise the most effectively, touching and passionately. Tenor sax and trumpet solos in album 1 are vivacious, vital, turbulent, wild fast and furious – they make these compositions to sound lively, energetic and dynamic. High variety of drums are heard in all compositions – unusual timbres, various rhythms of different world cultures and countries, all kinds and types of rhythms are heard in these improvisations. This huge range of different rhythms are colorfully illustrated with unusual, gorgeous, strange and interesting percussion sounds. Piano and bass duets are the most effective pieces of the album 2. Virtuosic, extremely fast, vivacious, sharp and aggressive piano melodies are masterfully combined with vibrant, intense and turbulent bass improvisations. Wide range of extended playing techniques, vibrant, interesting and vivacious improvising create original and innovative sound of this album.


Gordon Kampe, Ensemble Musikfabrik – “Arien/Zitronen” (col legno Music gmbh, 2017)

“Arien/Zitronen” was released in 2017 by “col legno Music gmbh” records company. The compositions by German composer Gordon Kampe were masterfully recorded in this album – “Ensemble Musikfabrik“, “Ensemble I.C.E.Q“, “Stuttgart Radio Symphony Orchestra”, “SWR Vokalensemble”, “Ensemble ascolta” and Sarah Maria Sun (soprano). Gordon Kampe music is based on interesting and original musical language. Rich, evocative and adventurous synthesis of many different musical expressions, rhythms, playing techniques and other elements are heard in most part of his compositions. Composer masterfully combines together vocal, acoustic instruments and their timbres, make original and inventive musical decisions to create extraordinary and expressive sound. His music is based on various modern music styles – the main elements and tendencies of contemporary academic avant-garde are heard very clearly and brightly in his compositions. Academic avant-garde, experimental music, choir music basics, expresionism, neoklasicism, post-romantism and other various styles of modern 20th century music are combined together. Serialism, dodecaphony, tonal and atonal music, puantilism, sonoristic music, electronic music composing methods and innovative his own composing techniques form the original and bright composing style. Gordon Kampe not avoids the musical experiments – he likes to make unusual and shocking musical decisions in all ways of musical language, especially – in instrumentation. Unusual timbres, specific ways of playing, extended and innovative playing techniques and gorgeous instrumentation are very important elements of his compositions. He writes music for symphony orchestras, choirs, chamber ensembles, quartets, quintets, compositions for solo performers, electronic music compositions and many other genres music. 

This album compositions are dedicated for chamber ensembles and symphony orchestras. “Arien/Zitronen (2016)“, “knapp”, “Drei Stücke für Orchester“, “Zwerge”, “Le cœur de la Grenoüille” and “Moritaten und Sentimentales” all these compositions are highly different from each other. Original, interesting and evocative musical language, dynamic rhythmic, inventive and innovative orchestration decisions, expressive and active sound – all these elements are heard in all these compositions. All the compositions have expressive, aggressive, emotional and passionate sound. The musical pattern is formed by polyphonic structure, contrastic episodes which are putted together one against other, independent and individual melodies of each instrument, sharp and dissonance harmony, constantly changing rhythmic, many different moods, sudden stylistic waves and turns. All these elements are masterfully combined together and form rich and evocative musical pattern. The professional and creative orchestration make a very high effort to all the compositions sound – extended playing techniques, individual melodies of each instrument or instruments group, unusual and specific sounds, special effects, inventive and shocking musical decisions bring live and energy to the compositions. Soft and peaceful flutes solos, expressive and vivacious reeds, bright, loud and sharp brass section, dynamic and very active rhythmic, unusual combinations of instruments, dramatic and vibrant sound of violins, soft and subtle cellos and very expressive and passionate choir episodes – all these elements gently fit together in one place. Composer masterfully mix together all these very different and contrasting episodes which are the opposites to each other. All this music is based on contrasts – after soft, restful and silent instruments solos, calm choir episodes there suddenly comes loud, powerful and intense all orchestra tutti which have especially expressive and energetic sound. Sudden stylistic waves, different playing manners, styles and techniques, sharp harmony, shocking and fascinating musical decisions bring creative and modern sound to these compositions. The music is based on academic avant-garde, experimental music styles, also has many elements of expressionism, post-impressionism and other elements of modern music styles. Vital, vivacious and evocative musical language, marvelous orchestration, original and unique composing style of the composer create original and innovative sound of the compositions.





























Cristoph Erb / Jim Baker / Frank Rosaly – “…Don’t Buy Him A Parrot” (HAT HUT, 2017)

…don't buy him a parrot…

“…Don’t Buy Him A Parrot” was released in 2017 by “HAT HUT” label. Interesting and modern sound avant-garde jazz album was recorded by three experienced jazz masters – Christoph Erb (tenor saxophone, bass clarinet), Jim Baker (piano) and Frank Rosaly (drums). These three jazz musicians have unique playing manner and always create innovative and gorgeous sound. Their music is based on avant-garde jazz, experimental and creative jazz synthesis with modern jazz styles – especially bebop, hard-bop and post-bop. Expressive, inventive, very energetic and spontaneous solos, dynamic rhythmic, sharp, loud and turbulent sound – all these elements are heard very much in their improvisations. Each of them had formed and masterfully improved their own and unique playing manner, interesting sound and adventurous musical language through the years of creative activity. All three musicians are improvising together as a trio, and also with other famous jazz musicians. They are active and experienced jazz musicians which had been collaborating with Fred Lonberg-Holm, Michael Zerang, Jason Roebke, Tomeka Reid, Nate Wooley, Jamie Branch, Paul Lovens and many others.

These album compositions are based on free improvisation. Musicians try to create and extract new and unusual timbres, expand from the zone of traditional sound. Free. spontaneous, wild fast, furious and turbulent or very silent and calm – this album improvisations are always somewhere between different and contrasting moods, characters, playing techniques and other contrasts of musical language elements. Expressive, turbulent, sharp, active and energetic tenor saxophone and bass clarinet melodies bring more live and energy to the compositions. Christoph Erb is using many different and innovative methods of playing – little part of very well-known and traditional saxophone playing techniques are gently combined together with innovative, shocking and fascinating ways of playing. His improvisations are based on free structure and form, spontaneous solos, special sound effects and high variety of different timbres, unusual sounds and strange tones. Jim Baker piano melodies are based on  free-jazz and bebop synthesis. Wild fast, extremely energetic and furious melodies are illustrated by very sharp, loud, aggressive dissonance harmony. Expressive, very active, speedy and dynamic piano solos gently fits together with saxophone and clarinet improvisations which also are very energetic for the most of the time. Frank Rosaly drums and percussion solos are very colorful and active, filled with different rhythmic formulas, interesting and fascinating playing techniques, free and wild fast solos, unusual and gorgeous timbres. Wild fast, extremely loud and energetic drum rolls are gently connected together with subtle and silent episodes. His improvisations also form solid and interesting background. Three musicians improvisations are always changing – it never stays the same. After very active, turbulent, free and wild furious collective improvisations there suddenly comes subtle, peaceful and silent episodes, which have soft harmony, consonance chords, restful reeds melodies and static rhythmic. All these episodes are different and highly contrasting with each other, they are masterfully connected in one composition. Rich and adventurous musical language, sharp, turbulent and expressive improvising, innovative playing techniques create original and interesting sound of this album.

Zender – “Dialog mit Haydn – Issei no kyo – Nanzen no kyo” (wergo, 2017)

“Dialog mit Haydn – Issei no kyo – Nanzen no kyo” was released  in 2017 by “wergo records”. Album compositions by German composer Hans Zender were recorded by Herman Kretschaman (piano), Ueli Wiget (piano), “Bundesjugendorchester” (conductor Hans Zender), Claron McFaden (soprano), WDR Sinphonieorchester Koln” (conductor Johannes Kalitzke), “WDR Rundfunkchor Köln”. Masterful and interesting musicians play all these compositions very passionately, emotionally, innovative and expressive.

Hans Zender is a German conductor and composer. His musical language is based on modern musical expressions, innovative and interesting orchestration decisions, fascinating and shocking musical experiments. The biggest part of Hans Zender music is written for symphony orchestras, chamber ensembles, choirs and also for solo instruments or duets. The music language is based on sudden changes and wide range of different music styles gently combined together. Composer masterfully combines together neoclassicism, expresionism, various modernistic music styles, neo-romantism, impressionism, baroque music, basic elements of Japan ethnic music and academic avant-garde basics. This wide range of absolutely different music styles, genres and cultures are masterfully combined together in one place. Composer also masterfully combines together vocal and various symphony orchestra instruments, his compositions are full of interesting, weird and provocative instrumentation decisions. His musical language and unique composing style is based on high variety of composing methods and playing techniques. Aleathory, sonoristic music, dodecaphony, serialism and other very well-known modernistic music playing techniques are fused together with experimental music, puantilism, academic avant-garde and many other styles. The beauty of his music is created by contrasts, unpredictable stylistic waves, shocking and weird combinations of the instruments, modern and gorgeous orchestration and rich musical language.

This album compositions by Hans Zendal are written for symphony orchestra and vocal – it’s “Dialog mit Haydn”, “Issei no kyo” and “Nanzen No Kyo, “Canto VII””. All these three compositions are highly different from each other. “Dialog mit Haydn” is formed by various excerpts from Haydn compositions and mixed with various modern music styles and traditional Japan music elements. Puantilism, dodecaphony, serialism, academic avant-garde and experimental music elements are mixed with baroque music, Haydn compositions and Japan music elements. This interesting combination changes a lot the traditional sound of Haydn music – it makes this music to sound modern, interesting, evocative and expressive. Colorful, adventurous and gorgeous orchestration decisions are used to create unpredictable sound and evocative musical language. This first composition of the album is written for symphony orchestra and many different, innovative and modern instrumentation decisions are heard in this composition. “Issei no Kyo” and “Nanzen No Kyo” were composed for symphony orchestra and vocal. These two compositions are highly different from each other, but also have some elements which are common – expressive musical language, independent and individual melodies by each instrument, interesting combination between contemporary academical music of Western Europe and traditional music of Japan. These two absolutely different cultures, tonal, atonal and mikrotonal harmony, various melodic, vocal, rhythmic and harmonic intonations of Japan traditional music are masterfully combined together in one place. Composer masterfully use and mix together highly different and interesting methods of playing, extended techniques, innovative instrumentation decisions and create rich and evocative musical language. Very loud tutti, expressive and emotional vocal, various voice elements, very soft and gentle reeds melodies, bright and gorgeous brass instruments parts, dramatic and passionate strings, dynamic rhythmic, choir episodes – all these elements are gently mixed together in one composition. After very silent and soft episodes there suddenly comes very loud, dramatic and expressive episodes which have a culmination to all orchestra tutti, energetic and dramatic choir and soprano melodies. This music is all the time changing – it never stays the same. Wide range of colors, timbres, weird sounds and tones of the instruments, gorgeous  and expressive sound, rich and adventurous musical language, precisely and passionate playing – all these elements create original and innovative sound of this music.

John Wall /Mark Sanders /John Edwards – “FGBH” (SR, 2017)

“FGBH” was released in June, 2017. This interesting and extraordinary avant-garde jazz album was recorded by three jazz improvisers – John Edwards (double bass), Mark Sanders (drums, percussion) and John Wall (laptop). The compositions by these three musicians are based on extraordinary and adventurous musical language – avant-garde jazz elements are gently synthesized together with electronic music. Musicians have own and unique musical language, expressive and extraordinary playing style. In this album, they try to search and extract unusual timbres, expand from the traditional sound zone and create adventurous and evocative music. All three musicians like to experiment – they make very strange, shocking, stunning and spontaneous musical decisions. All their music has bright and gorgeous musical language, which is also very rich and intense. Various kinds and types of expressions, different feelings, moods and characters are expressed here. Musicians are concerting and collaborating all the time – they had been playing in various avant-garde jazz festivals, had tours and concerts at various Europe countries and America.  Peter Green, Jeff Rich, Roscoe Mitchell, Wadada Leo Smith, Derek Bailey, Henry Grimes, Roswell Rudd, Peter Brotzmann, Barry Guy – these names of famous jazz legends are just a part of musicians with who these three jazz masters had been playing.

Album compositions are based on avant-garde jazz and electronic music synthesis. Musicians use many different playing techniques, expressions, dynamics and other musical language elements to create original and extraordinary sound. These compositions are constructed from many contrasting pieces which highly differ from each other. Expressive and dynamic drums and double bass solos, loud and expressive melodies, organic synthesis between acoustic and electronic sounds – all these elements are the main elements of these compositions. Musicians try out many different playing techniques – they mix together traditional, innovative and unusual methods of playing. High variety of different playing techniques is masterfully and effectively mixed with various musical expressions, dynamics and other elements of musical language. These compositions are short, have interesting and evocative sound. Masterful, expressive and creative playing, unique sound and specific improvising manner are heard in all three musicians improvisations. By using many musical expressions and playing techniques, musicians create original and extraordinary sound – they also expand the technical abilities of their instruments. This music is somewhere between avant-garde jazz, academic avant-garde, experimental and electronic music.The elements of these absolutely different music styles are masterfully combined together in one place. Unusual and strange sounds of acoustic instruments and electronic music tones are organically mixed together and form a solid and gorgeous background. Creative, evocative and bright musical language, inventive improvising bring original and interesting sound to these improvisations.