Snekkestad / Guy / Fernandez – “The Swiftest Traveler” (trost records, 2020)

“The Swiftest Traveler” is a new release of “trost records”. An album was recorded by three featured jazz masters who are the figures of avant-garde jazz scene – it’s Torben Snekkestad (tenor & soprano sax, trumpet and clarinet), Agusti Fernández (piano) and Barry Guy (double bass). The modern innovations and authentic traditions are gently brought together – spontaneous solos, luminous culminations, roaring driving riffs, expressive melodies, charming enchanting passages and ornaments, moods and timbres of all kinds. The sonoristic experiments, expression, vitality, dynamic turns, special effects and research of strange timbres – all these elements also are the main compounds of their music.

Three independent jazz masters who have original, passionate and suggestive way of playing, had gathered together to improvise. “The Swiftest Traveler” is consisted of impressive free improvisations with sparkling riffs, astonishing sonoristic experiments and eclectic stylistic fusions. From abstract, solemn and relaxing pieces, the music moves to nervous, bright, exciting, expressive and driving riffs filled with shrieky wainings, roaring blow outs, rapid turbulenct perturbations, vibrant culminations and, of course, eclectic stylistic combos, strange timbres, special effects and ornaments of all ranges. An open form and collective improvisation are the leading elements of all compositions. The musicians are masterfully reacting to each other’s music, sudden changes and contrasts, and don’t hesitate to get on risky combinations or radical decisions. Torben Snekkestad masterfully combines together vivid, dynamic and expressive saxophones, moving and sensible clarinet and explosing, roaring and aggressive trumpet. These three instruments gently fit together with Agusti Fernández’s piano which is especially emotional, bright, expressive and vital, filled with gorgeous virages, flowing passages and charming melodies. Deep, heavy, solemn or active and moving bass tunes by Barry Guy bring modest, subtle and relaxing mood to the compositions. The fundaments of the melody line are created by all three musicians – it’s bright, moving, driving and passionate. Here thrilling expressive saxophone meets as much exciting and vital clarinet. Flowing transcendental passages, vital ornaments, luminous culminations, impressive riffs and driving sessions remain the most important elements of saxophone and clarinet improvisations. A trumpet is the source of energy mixed with aggression and vitality. Aggressive growls, strange timbres, hot growls, wainings, thrills rising on shrieky exclamations, persecuting breaking sessions, frantic wild culminations illustrated by sparkling riffs, passionate melodies and fantastic passages. A trumpet certainly becomes the source of drive and energy – it makes the melody line moving, breaking and enchanting. Just like Torben Snekkestad, pianist Agusti Fernández is balancing between different moods and playing techniques – driving riffs, wild culminations, terrific breaking sessions, charming passages, abbreviations, tiny ornaments and sonoristic experiments bring a dynamic, twisting, emotional and passionate mood to the melody line. Deep stable bass line contrasting to rising culminations or vibrant sessions, contain the main base of the bass improvisations. Barry Guy is mixing up together modern and extended playing techniques, original ways of improvising, eclectic stylistic combos, innovations and traditions, heavy haunted pieces, depressed tunes turning to light, sophisticated or subtle episodes illustrated by tiny pizzicatto, huge range of ornaments and moods, and astonishing sonoristic experiments. All three musicians manage to create an independent and expressive melody line, bright dynamic rhythmic line, gorgeous background and innovative instrumentation. Their music is surprising and driving, a mix of modern and experimental jazz styles gently brought together.

Jennifer Curtis & Tyshawn Sorey – “Invisible Ritual” (New Focus Recordings, 2020)

“Invisible Ritual” is a fresh new release of “New Focus Recordings”. An album was recorded by a featured duo – violinist and composer Jennifer Curtis and pianist, percussionist Tyshawn Sorey. Both musicians are original improvisers and innovative composers – their music is inspiring filled with modern expressions, the fundaments of avant-garde jazz and free improvisation, the tendencies of contemporary academical music and academic avant-garde. The musicians are the central figures on international avant-garde jazz scene because of their brand new conception, unique sound, inventive and expressive playing manner and original way of improvising.

Spontaneous solos, instant improvising and the links to contemporary academical music – that’s the base of “Invisible Ritual”. Both musicians are fusing together two individual genres highly different from each other – free improvisation, avant-garde jazz and contemporart academical, experimental and sonoristic music, and academic avant-garde, as well. From strict arranged compositions filled with shrieky exclamations, persecuting low tunes, scandalous riffs and expressive melodies, music gets calm, deep and relaxing. A contrasting, universal and multi-colorful musical pattern and independent melody line is basically formed by both musicians – moving, contrasting and expressive violin gently fits together with tremendous driving piano and gorgeous percussion. Jennifer Curtis is using all wide range of playing techniques and expressions to create an astonishing and bright sound. Expressive melodies, remarkable bright riffs mixed with tremendous culminations, emotional trills, colorful elegant pizzicatto and other ornaments, expressions and moods of all kinds. The violinist is switching between composing and improvising – her compositions sometimes are more similar to strictly arranged piece of contemporary academical or experimental music – modern expressions, extended, rare or exotic ways of playing, original and traditional composing techniques, strange timbres, sonoristic experiments or even some elements of sonoristic or spectral music – these are the main elements of the pieces highly related to contemporary academical music. These episodes are contrasting to absolutely different ones based on open form, free instant improvisation filled with spontaneous solos, driving riffs, sudden attacks, deep solemn pieces suddenly rising to dramatic culminations, remarkable riffs accompagnied by strange timbres, exotic sounds, impressive passages and expressive melodies. Pianist and percussionist Tyshawn Sorey forms his music on the main basics of avant-garde jazz and free improvisation. All his compositions are completely based on open form and surprising, bright and twisting free improvisation. From silent, tiny, light or deep, haunted and dark episodes his music suddenly gets slow and lyrical or rises on terrific riffs, bright vibrant perturbations, passionate flowing ornaments, transcendental passages, dynamic turns and other pieces. The music gets shrieky, aggressive and provocative from time to time – sharp persecuting sequences, hot thrills, radical decisions and sudden twists of the moods are the main compounds of it. The music of this album is an organic and original fusion of avant-garde jazz and contemporary academical music – it’s surprising, inspiring and expressive.

J@K@L with Michaël Attias – “Static Adieu” (1980 Records, 2020)

“Static Adieu” was originally released in 2016 as a limited-run cassette tape for 1980 Records and now is out of print, and available digitally for the first time. An ensemble “J@K@L” had recorded this album – it’s Keefe Jackson (tenor/sopranino saxophone), Julian Kirshner (drums), Fred Lonberg-Holm (cello) and Michaël Attias (alto saxophone in tracks 2, 3, 4). The music is evocative and bright, filled with drive, expression and passion. The musicians are great jazz masters – they’re the central figures of avant-garde jazz scene. Their very own and original playing techniques and conceptions had brought interesting and new sound of avant-garde jazz.

All four musicians are getting along just fine in “Static Adieu”. Intense and expressive playing manner, sensible reacting to each other’s playing, the will to create something exciting and new and the developpement of original, passionate and bright conception – these elements make an effort to driving, vital and expressive sound. All music is completely based on avant-garde jazz, the main elements of American and Scandinavian experimental jazz, free improvisation and the compounds highly related to bebop, hard bop and other modern jazz styles. The music is contrasting and moving – it’s changing and twisting all the time. Tenor and sopranino saxophones by Keefe Jackson are full of evocative ideas, wild shrieky culminations, scandalous roaring riffs, expressive melodies and flowing passages. It’s beautifully illustrated by alto saxophone of Michaël Attias in some tracks. Both saxophonists bring energy, life and vitality to the compositions. That makes a dynamic, charming and passionate melody line and interesting reeds section. From remarkable expressive melodies, driving tremendous riffs music strikes on wild culminations accompagnied by shrieky persecutions, radiant perturbations, vibrant rigorous, aggressive and sharp solos, tinged with strange timbres, special effects and sonoristic experiments. These episodes are contrasting to subtle light free improvisations there solemn, peaceful and meditative mood is leading everywhere – repettiive series, monotonous tunes, abstract researches of strange timbres and diving deep down into lyrical contemplations contain the main part of these episodes. Contrasts, turns, changes and spontaneous solos make a driving, luminous and passionate sound. Universal and multi-layed musical pattern is created by adding cello to the melody line. Fred Lonberg-Holm is a talented and creative improviser, who always tries to integrate original, evocative, provocative and weird musical decisions and get out of the comfort’s zone. An improviser is expanding the main technical abilities of cello – sometimes it’s bright, sparkling and expressive, sometimes subtle, light, flowing, dreamy, romantic, or peculiar, heavy, haunted and dark. Generally, cello is an universal instrument – it frequently becomes the main source of colors, expressions and moods, keeps the basic of the melody line and forms a gorgeous background. Exactly the same thing happens here – contrasting, moving and dynamic cello adds dozens of new colors, modern expressions, extended, experimental or traditional ways of playing, brings fresh new sounds to the melody line and creates an ornamental, bright and gorgeous background. Drums section is leaded by Julian Kirshner. All kinds of rhythms are fused here – from stable beats to striking sessions, peaceful repetitive series to driving breaking riffs, calm romantic cool and dramatic scandalous culminations. Cool, bebop, mainstream, contemporary jazz, hard bop, post bop, and other jazz styles are integraetd to exciting and bright free improvisation with spontaneous solos and pleasant surprises. All four musicians don’t hesitate to experiment, take on risky and outrageous decisions and integrate experimental and innovative playing techniques to the musical pattern. That makes a driving, inspiring, sensible and expressive sound.

Jim Black, Thomas Morgan, Elias Stemeseder – “Reckon” (Intakt, 2020)

“Reckon” is a new release of “Intakt Records”. An album was recorded by “Jim Black Trio” – it’s Elias Stemeseder (piano), Thomas Morgan (bass) and Jim Black (drums). Three featured jazz masters are experimentating on various cases of musical language – their music usually has an exclusive and bright sound filled with interesting investigations, astonishing sonoristic experiments, strange timbres, evocative ideas and original ways of improvising. All the music is formed on the main fundaments of avant-garde jazz – bright, dynamic and unpredictable free improvisation, innovative experimental jazz, European and American jazz streams, modern and contemporary jazz styles and its intonations are the main compounds of it.

“Reckon” is filled with inspiring, dynamic and driving sound. The compositions are based on open form and free improvisation. The music is dynamic and changing all the time – stable relaxing solos related to cool, abstract free improvisations filled with the main basics of avant-garde jazz are connected to complicated, bursting, expressive and dynamic tunes of bebop, post bop, hard bop and other modern jazz styles. The musicians are switching between furious, bright, explosing and unpredictable free improvisation and dynamic, expressive, vital, sweet, sometimes romantic and light mainstream, contemporary and modern jazz and its main basics. Pianist Elias Stemeseder creates a remarkable, bright and expressive melody line. Here terrific riffs, dramatic risings, breaking sessions, tremendous culminations fused together with flowing ornaments, transcendental passages and strange timbres. An intense illustrative texture is created and accompagnies all the time the main melody line filled with sparkling riffs, luminous culminations, hot spills, full blasts, bursting thrills and sonoristic experiments. These episodes are contrasting to light, romantic and peaceful episodes related to mainstream, contemporary jazz or cool. These episodes written in meditative, romantic or lyrical mood, consist of solemn fragile pieces, deep haunted darkness, minimalistic pieces, repetitive series and subtle abstract improvisations. A pianist manages to create a multi-colorful, passionate and bright melody line. Abstract free improvisations filled with surprises and strange timbres colored by astonishing sonoristic experiments, special effects and eclectic stylistic fusions – that’s the base of bass line. Thomas Morgan is fusing together ascetic repetitive series, monotonous riffs, dark ambient, ubtle solemn pieces which are suddenly rising up to struggling attacks, sharp rigorous riffs, remarkable vital melodies contrasting to heavy dark solos – his bass is vital, active and dynamic, hysteric and scandalous, or sometimes romantic, sweet and lyrical. An universal, strong and bright rhytmic section leaded by Jim Black is based on all kinds of rhythms gently brought together – from stable beats, relaxing cool to expressive complicated bebop, aggressive splashing hard bop, unpredictable post bop and finally rising to striking attacks, breaking sessions, impressive free improvisations and wild culminations. Here the reflection next minute is changed by drive and energy, fragility goes with passionate, frantic, vibrant and perturbating riffs or calms down to meditation and relaxation. The music of this album has inspiring, bright, driving and dynamic sound.

LAST DREAM OF THE MORNING – Butcher / Edwards / Sanders – “Crucial Anatomy” (trost records, 2020)

“Crucial Anatomy” is the newest release of “trost records”. All music totally based on free improvisation and avant-garde jazz was recorded by “Last Dream Of The Morning” trio. The music of this trio is exciting and bright, filled with evocative ideas, modern expressions, pleasant surprises and spontaneous solos. Three great jazz masters who are the central figures of contemporary experimental and avant-garde jazz scene are improvising together – it’s John Butcher (tenor & soprano saxophones), John Edwards (double bass) and Mark Sanders (percussion).

An multi-colorful, universal and bright musical pattern is the basic of the compositions of “Crucial Anatomy”. Each musician is creating and developping his very own and independent melody line based on different playing techniques, expressions and combos. That makes the music eclectic, vital and unpredictable – virageous turns, flowing passages, impressive riffs going straight to silent pauses or meditative pieces are gently brought together in sensible and organic way. Expressive melodies tinged with hot thrills, passionate transcendental passages, sensible tremolos, moving trills and transforming to bursting explosions, full blasts of energy, rigorous scandals, furious riffs and wild culminations – that’s the base of saxophone improvisations. John Butcher is developping his very own and especially expressive playing manner mixed with drive, passion and vitality. His angry vibrant perturbations accompagnied by persecuting sessions, sharp timbres and astonishing sonoristic experiments are contrasting to relaxing pieces, subtle solemn solos, repetitive monotonous tunes and deep contemplations. A saxophone is the source of colors, drive, passions and dozens of moods – it’s the base of moving, thrilling and driving melody line. Stable bass line, repetitive series, minimalistic samples, subtle researches of strange timbres and special effetcs, synthesis of experimental and traditional ways of playing, exoansion of technical abilities are connected to luminous tremendous culminations, vibrant riffs, wild shrieky perturbations and remarkable melodies – John Edwards is masterfully fusing together masterful virtuosity, expressive and innovative way of improvising, main tendencies of experimental and contemporary academical music and the wide musical knownledge, complicated and expressive modern jazz styles. All these elements are mixed together and make an effective, dynamic and expressive sound. All kinds of colors, ornaments, exotic, strange or rare timbres, tappings, frottings and rhythmic figures related to modern, contemporary and experimental jazz styles – Mark Sanders manages to create exclusive and independent rhythmic section. Hot thrills, breaking sessions, bursting perturbations, vibrant culminations contradicting to stable monotonous series, lonely beats, repetitive series, minimalistic samples and lyrical contemplations – contrasts are strongly highlighted and combined together in one bright and exclusive free improvisation. The musicians give the first priority to the sound and its quality – that’s why the compositions are based on colorful and innovative instrumental section formed by experimental, extended, rare, exotic, eclectic and traditional ways of playing, and ornaments, abbreviations, expressions and sonoristic experiments, as well. An independent and driving melody line is meeting dynamic, vital and exclusive rhythmic section, innovative instrumentation and bright background. That makes an inspiring, driving and expressive sound.

Audrey Lauro/ Sylvain Haenen/ Frans Van Isacker/ Quentin Stokart – “cg” (qeerecords, 2020)

“cg” is a fresh new album recorded by Audrey Lauro (saxophone), Sylvain Haenen (guitar), Frans Van Isacker (saxophone) and Quentin Stokart (guitar). All the music of this album is totally based on free improvisation and avant-garde jazz. Interesting investigations mixed with fresh evocative ideas, radical decisions, modern expressions and gorgeous ornaments contain the main base of musical pattern. The musicians combine together different streams and styles – European and American avant-garde jazz and its main tendencies are gently brought together and mixed up with extended playing techniques, sonoristic experiments and special effects.

“cg” is based on compositions written for two guitars and two saxophones. This interesting compilation is the source of colors, evocative ideas, huge range of expressions and moods fused together in one place. The music is like a huge mosaic formed by thousands different pieces collected together in subtle and inventive way. Experience in improvising, searching to new links and extended playing technique, usage of rare or exotic ways of playing, splendid virtuosity and creativity – all these elements make an effort to original, touching and inspiring sound. The music goes through different moods and combos – from active and intense pieces filled with tremendous riffs, turbulent culminations, impressive passages and striking persecuting series, the music calms down to silent pauses, relaxing mediation, subtle pieces filled with solemn, fragile and tiny sound. An innovative instrumentation is created by fusing together extended playing techniques, modern tendencies of contemporary academical music, rare exotic combos, strange timbres, special effects and sonoristic experiments, ornaments and abbreviations of all ranges. As a result, an animated, colorful and especially expressive instrumentation with ornamental texture and independent melodic and rhythmic sections is created. The musicians are masterfully and sensibly reacting to each other’s playing and don’t hesitate to make extravagant decisions, pleasant surprises or unpredictable spontaneous solos – an impression, instant improvising and dynamic mood accompagnie all the compositions and certainly are the main compounds of this album. Both saxophonists – Audrey Lauro and Frans Van Isacker – are getting on together just fine. The reeds section is expressive, moving and bright, it’s also the main part of the melody line. When one player is staying on silent, solemn, haunted or deep mood, he another one is suddenly bursting on furious passages, luminous culminations, perturbating explosions and vibrant roaring riffs. The contrasts between the moods are very strongly highlighted – both saxophonists have an especially expressive, emotional, dynamic and driving playing manner. That makes a driving, effective and exclusive sound of the melody line. Even more colors, characters and moods are brought in by Sylvain Haenen and Quentin Stokart – both guitarists also are demonstrating their invention, wide knownledge, masterful virtuosity and flexible dynamic playing technique. Heavy riffs with rough timbres, strange tunes, striking, lightning, straining or roaring solos are connected tiny gentle pieces with gorgeous ornaments, flowing passages and remarkable melodies. When the musicians go deep down to solemn, peaceful and meditative mood – stable bass line, repetitive rhythmic figures and monotonous tunes. The moods are changed silmunateously – that makes an impression of especially emotional, driving and dynamic sound.

Christine Abdelnour/Magda Mayas – “The Setting Sun Is Beautiful Because Of All It Makes Us Lose” (Sofa Music, 2020)

“The Setting Sun Is Beautiful Because Of All It Makes Us Lose” is a fresh new release of “Sofa Music”. An album totally based on free improvisation and the main tendencies of avant-garde jazz was recorded by a featured duo – it’s Magda Mayas, Berlin-based pianist, and French saxophonist Christine Abdelnour. Both improvisers are highly different from each other – they have their own and modern conception based on innovations and traditions gently brought together. Contemporary academical, experimental, sonoristic music and its main basics are integrated with free improvisation and experimental jazz. Inventive ideas, radical, fresh and interesting musical decisions, unique sound, original and inspiring way of improvising – all these elements make an effort to suggestive and expressive sound.

The musicians are improvising individually and masterfully get together different kinds of ideas, monumental melodies, driving riffs, rhythms, passions, moods and other elements of musical language of all kinds. The music of “The Setting Sun Is Beautiful Because Of All It Makes Us Lose” is balancing between free improvisation and contemporary academical music. A rich, multi-layed and bright musical material is created by using extended playing techniques, rare or experimental ways of playing, individual way improvising and the very own conception of sound. The melody line consists of both musicians improvisations which are contrasting to each other, but still are masterfully brought together in one pattern. Christine Abdelnour is a talented and creative saxophonist who had developped her own sound and playing technique which gives an ability to extract wide range of timbres related to electroacoustic music and electronics. Her improvisations are fullfilled with emotions and expressions of all ranges – from solemn pieces played in meditative mood and accompagnied by deep silence, dark ambient tunes, strange timbres, special effects, crackings, and other weird tunes. Relaxing and contemplative mood also is connected to simple and concrete minimalistic samples, repetitive rhythmic figures. Although there’s much relations to contemporary academical music, the improviser create and keep strong basement of avant-garde and experimental jazz in each composition. After silence and fragility, there comes wild culminations, full blasts, hot thrills, passionate solos and flowing passages. The spontaneous solos and instant improvising are the leading elements – that makes an effort to surprising, exciting, luminous and upredictable sound of saxophone’s improvisations. As it was already mentionned before, sometimes the music is calm, solemn, deep and contemplative, when it bursts on hot thrills, radiant perturbations, vibrant sessions and inspiring driving melodies. There are more contrasts brought in by piano. Magda Mayas is experimenting on various cases of musical language – especially in timbral and instrumental section. Her music is filled with deep stable tunes, silmunateously repeated and tinged with strange timbres, soft chords, peculiar pitches, experimental ways of playing and original decisions. Stable tunes are changed by bursting persecuting sessions, shrieky exclamations, wild culminations, driving riffs, perturbations, vibrant melodies and transcendental passages. The music is dynamic and vital, has inspiring, driving and expressive sound. The basement of the compositions consists of monumental and expressive melody line leaded by both musicians, dynamic rhythmic section, gorgeous background with ornamental texture, and innovative exclusive instrumentation. That maes an exciting, inspiring and driving sound.

BARK! – “That Irregular Galvanic Twitch” (Sound Anatomy, 2020)

“That Irregular Galvanic Twitch” is a new release of “Sound Anatomy”. An album is based on free improvisation and the main tendencies and innovations of experimental jazz, electroacoustic and contemporary academical music and academic avant-garde. This album was recorded by “BARK!” – it’s Rex Casswell (electric guitar), Phillip Marks (percussion) and Paul Obermayer (electronics). The musicians are famous improvisers of avant-garde and experimental jazz scene – they have an astonishing and bright sound, expressive playing manner tinged with invention, creativity and drive.

“That Irregular Galvanic Twitch” is full of relations between modern tendencies of contemporary academical music and the basics of avant-garde jazz. Three musicians are improvising together, masterfully reacting to each other’s playing, spontaneous changes, sudden turns and finally join together independent and contrasting improvisations of each musician to one musical pattern. The music is based on open form and free improvisation – that leads to bright, exciting, thrilling, passionate and driving mood. A bright and ecletic melody line is fullfilled with electronics and heavy riffs of electric guitar. A guitarist Rex Casswell is using bright and vital expressions, special effects, inventive and radical musical decisions and dozens of different moods. His music is moving from heavy angry riffs to stable bass line, when straight to luminous, cracking and wild culminations with sparkling solos tinged with special effects and strange timbres. Stable bass line, repetitive series, monotonous rhythms and silent pauses contain the base of abstract and subtle pieces which are frequently played in meditative, contemplative, minimalistic or solemn mood. Hot thrills, bursts of energy, cracking twisting solos, expressive melodies, driving sessions and striking, hot and explosing culminations contain another side of his music – it has remarkable, inspiring and vital mood. Just like other jazz masters, Rex Casswell is making the first priority to sonoristic experiments, invention of strange and original playing techniques, expansion of technical abilities and the creation of innovative touching conception. His eclectic, vital, modern and driving electric guitar gently fits together with electronics mastered by Paul Obermayer. The musician is mixing up together huge range of electronics – glitch, amplifications, synth tunes, computer and electronic devices sounds, ambient, drone, in-puts, sound machine’s experiments are gently brought together. Modern innovations, strange timbres, special effects, synthesized tunes and other elements, as well, make an effective, bright and modern sound and colorful background. Percussion by Phillip Marks is colorful, expressive and filled with eclectic contrasting fusions – breaking sessions, expressive melodies, luminous riffs and driving mood are always accompagnied by exotic tunes, rare combos, strange timbres, tappings, cracking, hot thrills, loud beats and other sounds. That finally makes an exciting, thrilling, dynamic and vital sound.

Blaise Siwula, André Calvário & João Sousa – “To See Chance Again” (Nofrillsmusic, 2019)

“To See Chance Again” was released in 2019 by “Nofrillsmusic”. An album is totally based on free improvisation and avant-garde jazz. Two different streams are combined together – European and American avant-garde jazz. Dozens of authentic and original elements related to Portugal avant-garde jazz also are integrated to the musical pattern. An album was recorded by featured jazz masters – Blaise Siwula (alto sax and clarinet), André Calvário (electric bass) and João Sousa (drums). It’s a nice collaboration of two stars of Portugal avant-garde jazz scene – André Calvário and João Sousa – and famous saxophonist Blaise Siwula. The music is twisting, surprising and driving.

The compositions of “To See Chance Again” are based on the fundaments of avant-garde and experimental jazz. There are many elements related to bebop, post bop, hard bop, contemporary and modern jazz styles, mainstream, experimental music, and academic avant-garde. Although there’s a huge stylistic variety, free improvisation and the innovations of contemporary avant-garde jazz contain the basic of it. The musicians are improvisng spontaneously – instant improvising gives the possibility to experiment, research and create an evocative sound with shocking, driving, crazy, weird or simply interesting musical decisions. The musicians don’t stick up on rules or strict conventions – they are free to research new and extended playing techniques, construct different shapes and synthesized forms, blend together absolutely uncompairable styles or moods and by this way create an astonishing and exclusive sound. Masterful virtuosity, charming inspiring playing manner, usage of extended, creative, specific, home-made or experimental ways of playing by fusing them together with modern innovations or authentic traditions – that’s the base of an innovative and interesting instrumentation which is succesfully created. The musicians are demonstrating their invention, creativity, the will to create something astonishing, surprising and new – that’s why they’re open to radical, provocative or even crazy decisions and their integration to the musical pattern. As a result, a multi-layed, colorful and universal musical pattern with expressive melody line, rich musical language, innovative instrumentation, dynamic rhythmic section and gorgeous background is created. Alto saxophone and clarinet by Blaise Siwula contain the main basic of the melody line. An improviser is going through different kinds of characters and motions – that makes an effort to driving, thrilling and inspiring sound. From deep silence, modest, light and solemn pieces played in repetitive, meditative and relaxing mood the music strikes on roaring thunders, full blasts, burning growls, explosing terrific culminations, wild and extremely fast passages, flowing ornaments accompagnied by trills, glissando, perturbating blow outs and remarkable melodies. An authentic and bright mix of moods and characters finally makes an independent, driving and luminous melody line. Some electronics, special effects and strange tunes which accompagnie all the time stable bass line, are brought in by André Calvário. His bass improvisations filled with deep tunes, repetitive series and minimalistic samples are connected with ambient, glitch, drone mixed up with remarkable melodies, bright culminations, radiant riffs, full blasts, inventive or radical decisions, risky provocations, eclectic stylistic fusions and astonishing sonoristic experiments. His music mostly is played in dynamic mood – subtle lyrical episodes are gently combined together with active, rising, flashing and driving improvisations. Drums is the rhythmic base mastered by João Sousa. The music is luminous, bright and dynamic – expressive, nervous and complicated bebop, aggressive booming hard bop, stable and steady cool, unpredictable contemporary jazz and the elements related to different styles are connected to luminous riffs, blooming culminations, sparkling solos, radiant perturbations, risky turns, exotic sounds, strange timbres, sonoristic experiments and driving breaking sessions. The music of all three jazz masters is connected to one pattern – it gets sparkling, driving and expressive sound.

Ensemble SuperMusique, Symon Henry – “Voir dans le vent…” (Ambiances Magnétiques, 2020)

“Voir dans le vent…” is a fresh new release of “Ambiances Magnétiques”. An album was recorded by “Ensemble SuperMusic”. This ensemble is famous in contemporary academical music scene which joins together great musicians, talented composer, young talents to work together. Original interpretation of new music always are filled with innovations, extended playing techniques, sonoristic experiments, authentic traditions, modern tendencies of contemporary academical music, especially bright and rich musical language, and wide range of styles, expressions and moods gently brought together. This time, an ensemble had recorded the compositions by Symon Henry. A talented and creative composer is getting on risky combinations, provocative and original musical decisions, has his very own sound and style, and is developping exciting new conception, as well. All music is based on experimental, electroacoustic and contemporary academical music combined with free improvisation and experimental jazz. That makes a dynamic, unpredictable and touching sound.

Isaiah Ceccarelli, Guido Del Fabbro, Jean Derome, Bernard Falaise, Lori Freedman, Émilie Girard-Charest, Joane Hétu, Diane Labrosse, Philippe Lauzier, Pierre-Yves Martel, Cléo Palacio-Quintin, Jean René, Danielle Palardy Roger, Vergil Sharkya’, Alexandre St-Onge, Pierre Tanguay, Martin Tétreault, Scott Thomson and Ida Toninato – these are all the members of “Ensemble SuperMusic” who are playing together in “Voir dans le vent…”. The music is based on difficult structure and rich evocative musical language. The musicians succesfully blend together all the sections to one place – an independent and bright melody line, dynamic rhythmic section, synth tunes, electronics, gorgeous musical background and innovative instrumentation. Separate independent sections are contrasting to each other and create a bright, expressive and modern musical language. The music is especially expressive and emotional – the musicians are mixing up together different kinds of motions, characters and expressions. Spontaneous turns, sudden changes, strong contrasts, masterful virtuosity, invention and the ability to switch from the one mood to another without any force – that makes an effort to flexible, expressive, sensible and effective playing manner. The music moves from the darkest pieces mixed with sorrows, anger, aggression or – ambient, subtle and relaxing mood. These episodes are filled with silent pauses, deep contemplations changed by minimalistic samples, sonoristic experiments, strange timbres and turn out to outregeous, haunted, heavy and dark mood. When suddenly the music changes – it gets striking and twisting, rises on sparkling riffs and wild culminations. Here a lyrical, solemn and relaxing playing manner is changed by intense, active and moving pplaying manner with rich ornamental texture. Here expressive melodies filled with shrieky exclamations, hysteric riffs, passionate flowing passages, intense, nervous and complicated rhythms, monotonous sessions are rising to luminous culminations, booming sessions, wild perturbations, radiant breaking riffs and scandalous pieces. The music is played in active, dynamic and expressive playing manner – different kinds of instruments are brought together. All music is based on huge stylistic variety – spontaneous free improvisation is integrated in already arranged contemporary academical music, astonishing and evocative experimental music, synthetic and modern electronics and innovations of academic avant-garde. Here meets an unconventional andevocative contemporary academical, experimental and electroacoustic music and abstract, moving and spontaneous improvisation. An innovative and bright instrumentation is created – it’s based on home-made, strange, experimental and extended playing techniques, rare and exotic instrumental combos, modern innovations, fusion of acoustics and electronics, and ornaments, abbreviations and textures of all kinds. That finally makes an inspiring, evocative and bright sound.