The Paul Dunmall Nonet – “Interpretations of Beauty” (FMR, 2019)

Dunmall, Paul Nonet The: Interpretations of Beauty (FMR)

“The Paul Dunmall Nonet” is a jazz orchestra leaded by Paul Dunmall and consisted from great jazz masters – Paul Dunmall (soprano saxophone, alto saxophone, clarinet, alto flute, penny whistle), Neil Metcalfe (flute), Trevor Taylor (marimba, vibraphone, percussion), Philip Gibbs (guitar), Hannah Marshall (cello), Sarah Farmer (violin), Theo May (viola, violin), Alison Blunt (violin) and John Edwards (double bass). Free improvisation, the basics of avant-garde jazz, the innovations of experimental jazz and the roots of 1960’s avant-garde jazz are the leading elements of “The Paul Dunmall Nonet” compositions.

“Interpretations of Beauty” is the newest release of this orchestra. It’s filled with passionate and expressive sound which joins together innovations and traditions, extended and classical playing techniques, modern musical language, rare, exotic or strange timbres, coloristics and ornaments of all ranges. Free improvisation is developped in open form which his an open space to each musician to express his ideas, experiment and create an exciting and astonishing sound. Each member of ensemble is an individual player who doesn’t hesitate to get on brave or ambitious decisions, extravagant evocative ideas, risky combinations or simply weird, crazy and original combos. Even though there are many relations to contemporary academical or experimental music, academic avant-garde, as well, the music is fundamentally formed on the basics and roots of avant-garde jazz and its innovations. A rich and expressive reeds section is formed by flute, alto flute, saxophone and alto saxophones, clarinet and accompagnied by penny whistle. The music is bright, moving and dynamic. Soft and gentle flute, whistling, low and shrieking solos vs. deep, silent and calm tunes of alto flute bring dynamic and colorful sound. Shrieky persecuting sessions are highly related to contemporary academical music, spontaneous solos, sudden changes, bright contrasts, strange timbres and sonoristic experiments are the fundaments of improvisational music. The flutes accompagnie all the time vivid, driving and emotional saxophones and clarinet. It’s the key elements of the melody line which highly effect whole sound. Trembling vibrato, emotional trills, gorgeous ornaments and flowing passages accompagnie expressive moving melodies that rise to breaking sessions, radiant perturbations, wild furious culminations tinged with full blastss of energy and storms of sounds – all that makes an active, driving, bright and exclusive sound. Reeds section brings suggestive and expressive sound, innovations and astonishing sonoristic experiments to the musical pattern. Violins, viola, cello, double bass and guitar contain a firm and interesting strings section. Here millions of different tunes, styles and sounds are combined together – extravagant and expressive violins filled with exciting solos, furious scandals, hysteric riffs and huge perturbations makes an inspiring, vibrant and passionate mood. Deep, solemn and subtle viola is the source of relaxation, meditation or ascetic minimalism from time to time. Concrete, spectral and sonoristic music, sonoristic experiments are the main compounds of viola compositions. Remarkable and elegant cello has many functions – it brings charming sweet solos which suddenly burst in furiously rapid passages, light pizzicatto, dizzy glissando, trembling trills, thrilling driving sessions or especially expressive melodies. Different kinds of rhythmic sessions related to various jazz styles and genres make an universal and bright rhythmic section. Cello has its another side – it’s calm, relaxing and solemn with diving in deep relaxing contemplations and researches of strange tunes and extravagant ways of playing. These episodes are as much effective and inspiring as full blasts or powerful radiant culminations. Double bass contains a stable bass line, but also is full of extravagant ideas, modern innovations, extended, rare, exotic or specific ways of playing and bright contrasts. After being in subtle, deep and contemplative mood, the music gets luminous and striking with hot splashes, thrilling riffs, vibrant sessions and terrific solos. Elegant and vital guitar has an independent and dynamic melody line colorfully illustrated by ornamental texture, gorgeous tunes, strange timbres and sonoristic experiments. Instant improvising here goes against strictly arranged pieces with shrieky exclamations, hysteric solos, driving riffs and perturbations. All these instruments gently brought together form an independent, exclusive and sparkling melody line. A dynamic, driving and contrasting rhythmic section is combined from the rhythms of all ranges. The rhytjmic base is basically kept by double bass, viola and cello and accompagnied by soft, gentle and subtle marimba and vibraphone’s tunes. A penny whistle is used as a nice coloristic. The music of this album has exclusive and expressive sound.

Steve Beresford & John Butcher – “Old Paradise Airs” (Iluso, 2020)

“Old Paradise Airs” was recorded by two great jazz masters – Steve Beresford (piano, objects, electronics) and John Butcher (soprano and tenor saxophones). Inspiring, innovative, filled with original investigations, extraordinary decisions and sudden turns – that’s how it’s possible to call the music created by this duo. The musicians are the masters of their art – they’re getting on radical and experimental musical decisions, astonishing sonoristic experiments, integrate special effects and strange timbres all together with coloristics and ornaments of all ranges. That makes the music alive, dynamic, perturbating and exciting – sudden mood’s changes, twisting turns, expressve melodies and transcendental passages are used everywhere.

“Old Paradise Airs” is completely based on artsy synthesis of avant-garde jazz and experimental music. Acoustics and electronics are co0mbined together and are the fundaments of instrumental section. Here extended, provocative, shocking, experimental and specific ways of playing are brought together with electronics, coloristics, special effetcs and modern playing techniques related to contemporary academical music. As a result, an innovative, colorful and universal instrumental section is created. The musicians are balancing between free improvisation with sparkling riffs and spontaneous solos and the pieces related to sonoristic, concrete, spectral and experimental music, and electronics, as well. These two different styles are integrated to one common musical pattern by using subtle, delicat and suggestive ways of playing. John Butcher forms his music on the basics of avant-garde jazz and free improvisation – instant improvising, spontaneous solos, dynamic turns, contrasting pieces, wide range of specific, exotic and innovative ways of playing are the main compounds of his music. The saxophones by John Butcher become the main accents of the melody line. It’s – shrieky, hollowing and rigorous, filled with blowing sharp riffs, aggressive scandalous pieces, hysteric exclamations, wainings, urglings, growling vibrant thrills and expressive melodies. The remarkable melodies are played with affection, passion and drive – flowing passages, special effects, strange timbres, coloristics and ornaments of all ranges make a gorgeous, expressive and touching sound. The improvisations have the leading position in the melody line – these episodes bring driving, terrific and vital sound to the melody line and whole album. Sometimes the music is animated, moving and thrilling accompagnied by original investigations, sonoristic experiments and rigorous blasts. When it gets solemn and sweet, romantic and soft played in lyrical mood, slow tempo or are highly related to ascetic minimalistic pieces with repetitive series and monotonous rhythms. Steve Beresford has absolutely different playing style – original improviser combines together piano, objects and electronics. His piano is based on wide stylistic variety – the main tendencies related to experimental, contemporary academical or sonoristic music are connected to the fundaments of avant-garde jazz and free improvisation. A musician gives the highest priority to the sound and its quality – that’s why emotional, touching and dynamic piano is subtly tinged with drone, glitch, synth tunes, computer devices sounds, ambient, amplifications, in-puts and many other electronics or various objects sounds. His music is dynamic and always in change – it’s moody, gloomy, deep or solemn at the beginning, when it gets striking, aggressive and anxious rising straight to expressive melodies, gorgeous transcendental passages, strange timbres, wild culminations, radiant culminations, hot thrills, bursting blasts and emotional solos. The music of this album has an inspiring, dynamic and colorful sound.

Gerrit Hatcher Group – “The Good Instinct of the Morning” (Kettle Hole Records, 2020)

Gerrit Hatcher (tenor saxophone), Katie Ernst (bass), Ben Lamar Gay (cornet), Keefe Jackson (tenor saxophone) and Julian Kirshner (drums) – these five musicians are the members of “Gerrit Hatcher Group”. The music of this quintet is bright and inspiring, completely based on instant improvising, spontaneous solos and sonoristic experiments. The musicians develope their very own and original sound, have innovative and suggestive playing technique, inspiring and expressive playing manner and modern conception of avant-garde jazz. The splendid virtuosity, invention and the will to improvise in a different, sometimes extravagant or shocking way, are brought together in the newest release “The Good Instinct of the Morning”.

“The Good Instinct of the Morning” is completely based on free improvisation and avant-garde jazz. Each musician brings his very own sound, specific character and inspiring playing manner to the compositions. Tenor saxophonists Gerrit Hatcher and Keefe Jackson keep the base of the melody line. Driving, thrilling and moving saxophones is the soul of the melody line along with expressive vital cornet. Both musicians are going through different kinds of moods, characters and expressions – their music is deep and silent, moving, sparkling, filled with terrific, radiant and perturbating sessions, breaking roaring riffs, rigorous and scandalous solos or sweet, romantic, childish, playful or relaxing pieces. All music is created spontaneously – instant improvising, masterful coordination, splendid virtuosity and bright contrasts organically joined together contain the main base of reeds section and the melody line. Intriguing turns, evocative ideas, innovative playing techniques, suggestive and inspiring improvising, contrasting ideas crossing to each other – all these elements make the reeds section bright, eclectic, vital and driving. Cornet by Ben Lamar Gay brings more action, energy and perturbations to the melody line and whole music. Hot sparkles, growling thrills, aggressive and rigorous riffs, rising attacks and wild culminations mixed with full blasts of energy, astonishing sonoristic experiments, bright and luminous solos or transcendental passages – that makes dazzling, terrific and impressive sound. Bass forms a stable and tight bass line and certainly is the source of new timbres, exciting ideas and strange tunes. Katie Ernst is taking on risky combinations, interesting investigations, eclectic stylistic synthesis, strong contrasts and sonoristic experiments. Her music is expressive and emotional – it starts with deep subtle improvisations in slow relaxing mood and moves to terrific culminations, sparkling riffs or remarkable exciting melodies the next minute. Extended playing techniques, tendencies of contemporary academical music and very own ways of playing, sparkling, exciting and enlightning sound vs. ascetic minimalism, stable bass line, repetitive series and silent pauses – that makes an inspiring, universal and dynamic sound. Julian Kirshner leads the drums section – here extravagant ideas, luminous breaking sessions, wild rigorous attacks, passionate thrills, vibrant perturbations, driving riffs and expressive complicated rhythms are twisted together in one bright, suggestive and independent rhythmic section. All music of this album is based on wide stylistic variety – the fundaments of avant-garde jazz are connected to expressive bebop, aggressive hard bop, and other modern and contemporary jazz styles. An universal multi-colorful pattern with dramatic, driving and independent melody line, dynamic and vital rhythmic section, and gorgeous background is created. The music has an inspiring, iinnovative and driving sound.

Quost/Ali/Harris – “Dawa” (Amalgam, 2020)

A mix of free improvisation, the basics of avant-garde jazz meeting the innovations of experimental music, its textures, rhythms and moods of all ranges – that’s the base of “Dawe”. The newest release of “Amalgam” was recorded by three featured improvisers – it’s Timotheé Quost (trumpet, electronics), Ishmael Ali (cello, guitar, electronics) and Bill Harris (drums, electronics). The music is full of interesting investigations, eclectic combos, exotic rare tunes and modern expressions.

“Dawe” has modern, inspiring and expressive sound. A wide stylistic variety is created – the basics of avant-garde jazz, abstract, expressive and dynamic free improvisation, experimental jazz, the roots of 1960’s and 1970’s avant-garde jazz are gently brought together with the fundaments of contemporary academical and experimental music. The elements of concrete, sonoristic, spectral, electro-acoustic music and electronics are connected together with other elements and contain huge and wide musical pattern. From strictly arranged compositions to free, impressive and moving free improvisation accompagnied by astonishing sonoristic experiments, gorgeous sounds, strange timbres, special effects and ornaments of all ranges. The musicians step in the new zone of sound – they’re experimentating on sound and its quality by researching to new, extravagant, original, experimental and innovative ways of playing. Some of them are provocative, radical or simply weird – that makes the music interesting, bright and evocative. The experiments and innovations become the main accent of instrumental section – the combo of electronics and acoustics gently brought together is colorfully illustrated by extended, experimental and traditional ways of playing and improvising. Trumpet and electronics by Timotheé Quost is the source of energy and expressions. Dynamic changes, sudden turns, twists, thrilling riffs, aggressive growls, urgling or waining solos, strange timbres all brought together with expressive remarkable melodies, flying fantastic passages, gorgeous ornaments and luminous wild culminations. An expressive and driving trumpet is combined with drone, ambient, synth tunes, special effects, modifications, amplifications, alterations and other electronics which make a modern, extravagant and original sound. An improviser researches to new forms, original timbres, demonstrates his masterful virtuosity and original point of view. His trumpet melodies are the basics of driving, suggestive and passionate melody line. Another one great acoustics-electronics combo is made by Ishmael Ali. Here remarkable, charming and universal cello filled with passionate melodies, solemn pieces, relaxing meditations, minimalistic samples or thrilling attacks, is connected to dynamic and moving guitar and electronics. Two instruments gently combined together contain the main rhythmic section, bring more colors to the melody line – sparkling riffs, terrific breaking sessions, radiant perturbations or solemn, dark, haunted or light romantic pieces always are accompagnied by strange timbres, special effects, synth tunes, textures, ornaments and electronics of all kinds. Bill Harris is a great drummer – he succesfully creates a dynamic, driving and independent rhythmic section where extravagant bebop, aggressive hard bop, absract and relaxing cool, dynamic contemporary or mainstream jazz rhythms are integrated to the basics of free improvisation and avant-garde jazz and its impressive bright free improvisations with breaking sessions, full blasts and sonoristic experiments. Huge range of electronics is used along with drums and other objects – that makes an expressive, luminous and interesting sound.

Liz Durette – “Delight” (Feeding Tube Records, 2020)

“Delight” was released by “Feeding Tube Records”. Liz Durette – keyboard player, improviser and composer – has her very own and original point of view, unique sound and innovative way of playing. She’s balancing between different styles and genres – her earlier albums were highly related to avant-garde jazz and free improvisation. A masterful and organic synthesis between moving bebop, aggressive hard bop, dynamic and unpredictable contemporary jazz, relaxing cool and, of course, the basics of avant-garde jazz and free improvisations, were gently brought together. The newest album highly differs from the early ones – it’s based on the basics and innovations of experimental and contemporary academical music, electronics, academic avant-garde and other elements related to various modern classical music genres.

“Delight” compositions are written for keyboards. By using polyphonic expressive keyboards, a composer manages to create bright, interesting, luminous and colorful sound. Wide range of styles, expressions, moods, tunes and sonoristic experiments organically brought together, effects all the sections of musical pattern. An innovative instrumental section is created by using experimental, extended and extravagant ways of playing combined together with synth tunes, strange tunes, weird timbres, special effects, sonoristic system’s experiments, computer devices sounds, and other elements and tunes extracted by keyboards. Rare expressions, exotic tunes, original eclectic combos, radical, provocative and inspiring musical decisions make an inspiring, luminous and modern sound. A wide stylistic variety is used on various sections – it touches especially the melody line and rhythmic section. The melody line is based on several independent melodies which are crossing and contrasting to each other. A polyphonic texture is mixed together with repetitive melodic excerpts, minimalistic samples, rhythmic series, the elements of serialism and puantilism, concrete, sonoristic and spectral music’s elements, special effects and synth tunes. Generally, the music is a combo of various styles, tendencies, innovations and traditions of contemporary academical music, electronics and academic avant-garde. Liz Durette is exploring the main field of technical abilities and expanding a traditional sone of sound – she twists together absolutely different styles, expresses numerous of different moods and remarkable characters. Her music is animated, vital and especially expressive. Sometimes it’s deep, haunted and dark, when it gets sweet, childish and playful, or is rising on striking attacks, breaking sessions, passionate thrills, tremendous culminations, spontaneous solos, sudden twists and dynamic turns. The music is switching between abstract improvisational music and strictly arranged pieces – sometimes it’s related to ascetic minimalistic samples, silent lyrical contemplations, abstract free improvisations with strange timbres and sonoristic experiments, or calliope music for wicked children played in traditional waltz beat. Shrieky exclamations, hysteric riffs, scandalous attacks, rigorous blasts and dynamic turns relate the music to modern, extravagant and interesting contemporary academical music. The music of this album is vital, innovative and expressive.

Decoy with Joe McPhee – “AC/DC” (Otoroku, 2020)

“AC/DC”was lively recorded at “Cafe Oto” and released on “Otoroku” label. All music was recorded by “Decoy” trio – it’s John Edwards (bass), Alexander Hawkins (hammond b3), Steve Noble (drums) and featured guest Joe McPhee (pocket trumpet, alto sax, voice). The music is based on free improvisation and avant-garde jazz. It’s filled with unpredictable turns, spontaneous solos, virageous passages, sonoristic experiments and innovative playing techniques. The music is a fusion of European and American avant-garde jazz – the newest innovations, modern expressions and the roots of 1960’s avant-garde jazz are brought together with unique sound of each improviser’s playing and improvising.

“AC/DC” has a bright expressive musical pattern based on independent and remarkable melody line, dynamic rhythmic section, innovative instrumentation and gorgeous background. All four musicians are mastering huge number of playing techniques, expressions, moods and characters. That’s why the music is emotional, thrilling and changing all the time. Experimental and traditional ways of playing are gently brought together – modern expressions, rare tunes, exotic or specific playing techniques, astonishing sonoristic experiments, vocalisation, expansion of technical abilities of the instruments and ornaments, colors and moods of all ranges contain bright, multi-colorful and expressive instrumental section. Even though the music is based on free improvisation and avant-garde jazz, it has many relations to the other jazz styles. Bebop, post bop, hard bop and neo bop bring expression, vitality and remarkable sound – complicated rhythms, exciting melodies suddenly burst in furious, aggressive and impressive solos. Hot growls, bursting thrills, full blasts, rigorous solos, strange timbres and dynamic mood accompagnie these episodes all the time. The synthesis of modern and avant-garde jazz styles is mostly expressed in Joe McPhee’s and John Edwards music. Growling, bursting, waining, shrieking and blowing trumpet, vital, expressive, light and dynamic saxophone by Joe McPhee fused with spoken elements and voice solos make the fundamental base of the melody line. It’s filled with wide range of solos, characters and moods gently brought together – incredible sparkling riffs, enchanting flying passages, expressive melodies played with drive and energy are the main compounds of his music and always accompagnied by strange timbres, sonoristic experiments and radiant energy’s explosions. John Edwards is an experimentator who fuses together wide range of sounds and styles, just like pianist Alexander Hawkins or Joe McPhee. Sometimes his music is relaxing, sweet and romantic – when it gets terrific and anxious, growling and rigorous, furious and aggressive filled with shrieky exclamations, hysteric scandals, blooming culminations or extremely down, deep and heavy. The basics of avant-garde jazz and free improvisation are accompagnied by other styles – expressive moving bebop, steady cool, dynamic contemporary jazz or innovative experimental jazz. The intonations of experimental or contemporary academical music are also expressed – an improviser is balancing between impressive free improvisations and effective, expressive and modern arranged pieces highly related to contemporary academical music or academic avant-garde. That finally makes an inspiring, unpredictable, charming, driving and original sound. Hammond b3 by Alexander Hawkins is created by wide range of styles, colors and expressions brought in by this talented pianist and improviser. Deep, and haunted, dark and solemn or relaxing contemplations are more similar to minimalistic pieces, meditative steady cool or abstract researches to new, exciting and original ways of playing and sonoristic experiments. The music is dynamic and active for the most of the time – striking attacks, sudden turns, eclectic combos, passionate thrilling melodies, driving riffs, impressive passages always accompagnied by strange timbres and sonoristic experiments, as well. Alexander Hawkins joins together relaxing cool modern and complicated contemporary, aggressive hard bop, expressive bebop, neo bop, mainstream and combines all these styles together in the frames of impressive, dynamic, changing and sparkling improvisation. A radiant and dynamic rhythmic section by Steve Noble gently fits together with expressive, remarkable and sparkling melody line. All kinds of rhythms, expressions and sounds are brought together – aggressive beatings, steady lonely tunes, radiant perturbations, vibrant riffs, flying charming solos, gorgeous ornaments, strange timbres and radical, provocative and interesting musical decisions. Steve Noble manages to create an astonishing, bright and dynamic rhythmic section.

Katie Hae Leo / Guerino Mazzola / Alex Lubet / Nick Zielinski / James E. Holdman – “Negative Space” (pfMentum, 2020)

“Negative Space” is a new release of this year which combines together the basics of avant-garde jazz, free improvisation, experimental music and academic avant-garde. The music was recorded by Katie Hae Leo (poetry, voice), Guerino Mazzola (grand piano), Alex Lubet (National steel guitar (1), acoustic guitar (2, 5, 6, 8), electric bass (3, 4, 7), soprano ukulele (9)), Nick Zielinski (drums) and James E. Holdman (electric guitar (3, 4, 7). The musicians are switching between arranged compositions and abstract free improvisations. Open form meets conventional classical forms, extended and experimental playing techniques get along with traditional ones, original ways of improvising, unconventional musical decisions and other elements. Here free improvisation, avant-garde jazz, experimental, sonoristic and contemporary academical music are brought together with poetry, vocal music and other elements. That makes an original, bright and inventive sound.

“Negative Space” has a difficult structure, multi-layed musical pattern and universal instrumentation. Five great musicians have their very own and unique sound, original playing style, especially expressive and emotional playing manner, sparkling virtuosity and innovative point of view. They manage to create bright, luminous and original sound by fusing together huge variety of styles, genres and playing techniques. The main melody line is based on piano, electric and acoustic guitars. It’s – universal, inspiring and driving filled with independent melodies crossing to each other and brought together in subtle and organic way. Moving and dynamic piano melodies are accompagnied by splashing thrills, sparkling virtuosic ornaments, passionate trills, flowing driving solos, sonoristic experiments, strange timbres and other kinds of musical language’s elements. The aggressive, expressive and luminous episodes filled with intense texture and vitality are combined together with subtle solemn pieces, lyrical contemplations, relaxing meditations, minimalistic samples and silent pauses. All kinds of colors, moods, expressions and playing techniques are gently brought together and make an astonishing, bright and vital melody line. The synthesis of acoustic and electronic guitars is naturally made – here light, sweet, sometimes romantic and fragile, sometimes aggressive, furious and frantic tunes of acoustics are combined together with strange timbres, ambient, glitch, sonoristic experiments, spectral and concrete music elements, synthesized tunes, heavy riffs and twisting virages. This interesting fusion of two different guitar’s types are illustrated by national steel guitar and its colorful, expressive and vital solos. More exotic tunes, charming flowing melodies filled with tiny, elegant and gorgeous ornaments are brought in by ukulele. Electric bass keeps a stable, tight and firm bass line formed by repetitive series and monotonous tunes contrasting to luminous culminations, terrific riffs, passionate melodies going down to haunted, depressed, deep or lyrical pieces. Poetry and voice brightly illustrate whole music – it makes the music a succesful synthesis of experimental and traditional playing techniques, acoustics and electronics, vocalisation, poetry and expansion of technical abilities of other instruments. Dynamic, bright, expressive and vital rhythmic section is created by using all kinds of rhythms, typical rhythmic figures, strange timbres, special effects, exotic or rarely used tunes, eclectic stylistic combos and other similar elements. The music of this album is inspiring, innovative and bright.