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Sean Conly : Hard Knocks (Clean Feed)

The history of bassist Sean Conly's collaborations and releases shows a strong love of the jazz tradition and a perceptive writing style that references that tradition, heard here in free and lyrical original Conly compositions performed in the studio in a trio setting with fellow New York musicians Satoshi Takeishi on drums and Michael Attias on alto saxophone. ... Click to View


Caterina Palazzi Sudoku Killer: Asperger (Clean Feed)

A wicked hybrid of jazz, avant rock and cinematic elements, bassist Caterina Palazzi's quintet Sudoku Killer takes on the music of Disney in a suite where each track is dedicated to an antagonist from movies like "Snow White" or "Sleeping Beauty", performed with Giacomo Ancillotto (guitar), Maurizio Chiavaro (drums), Sergio Pomante (sax) and Antonio Raia (sax). ... Click to View


Alberto: Pinton Noi Siamo: Opus Facere (Clean Feed)

Multi-reedist and wind player Alberto Pinton's quartet Noi Siamo ("We Are") with Niklas Barno on trumpet, Torbjorn Zetterberg on bass and Konrad Agnas on drums, are caught at the Swedish Glenn Miller Cafe in Stockholm for this exciting album of knowledgable and passionate free jazz, a dynamic concert referencing Eric Dolphy, Freddy Hubbard, and Ornette Coleman. ... Click to View


Jemeel Moondoc Quartet: The Astral Revelations (RogueArt)

Saxophonist Jemeel Moondoc takes his masterful NY quartet of pianist Matthew Shipp, bassist Hilliard Green, and drummer Newman Taylor Baker to perform live at Bimhuis in Amsterdam in 2016, capturing four remarkable improvisations of Moondoc compositions including an extended rendering of "Cosmic Nickelodeon", the band balancing lyricism with intensely creative playing. ... Click to View


North Of North (Pateras / Tinkler / Veltheim): North Of North (Offcompass)

The first release on pianist Anthony Pateras' new label OffCompass intended to explore a more diverse set of projects is from the North Of North trio of Anthony Pateras on piano, Scott Tinkler no trumpet, Erkki Veltheim on electric violin, using improvisation, Carnatic music, 20th and 21st century compositional strategies, mathematical theories and open forms of jazz. ... Click to View


Will Guthrie : 6 Days into 8 [CASSETTE] (Careful Catalog)

The sixth set performed during an 8-day tour of Japan in 2018 by Australian drummer / percussionist Will Guthrie (Ames Room, The Sommes Ensemble) took place at 0g in Osaka, captured here as a 32 minute set of vigorous playing tempered with introspective passages, using powerful technique and unorthodox approaches to his kit; cathartic and captivating. ... Click to View


Karl Berger: In A Moment - Music For Piano And Strings (Tzadik)

Pianist and vibraphonist Karl Berger is also a professor of composition, having won numerous awards and commissions for his work, here presenting the final part of a trilogy written Tzadik, a beautiful 14-part suite for piano and string realized with Berger himself at the keys in a septet of well known NY performers including Ken Filiano, Tomas Ulrich, Jason Kao Hwang. ... Click to View


Dave Holland Feat. Evan Parker / Craig Taborn / Ches Smith: Uncharted Territories [2 CDs] (Dare2 Records)

Reuniting late bassist Dave Holland with saxophonist Evan Parker, a longtime friend from their early days in London, and joined by Craig Taborn on piano and electronics, and Ches Smith on percussion, as the group performs as a quartet and also in a variety of permutations of duo and trio configurations, for a set of rich and informed dialogs of masterful skill. ... Click to View


Eugene Chadbourne : Fuck Chuck (Chadula)

An unsual album even by Chadbourne's standards, this reissue and remaster of material recorded in the 80s and 90s from his cassette series brings recordings from his noise group Chuck with Murray Reams and David Nikias together with recordings with Ut Gret (Joee Conroy and David Stilley) to create a hybrid of live experimental improv and found sounds. ... Click to View


Eugene Chadbourne : Lets Get Weird But Comfortable (Chadula)

Named for an audience comment that their music was "weird but comfortable", guitarist Eugene Chadbourne's band with Jeb Bishop on trombone, Jorrit Dijkstra on saxophone, Nate McBride on bass, and Curt Newton on bass are caught live in Boston covering the music of Thelonius Monk, Misha Mengelberg, Steve Lacy, Duke Ellington, Doc Chad, Willie Nelson and The James Gang. ... Click to View


Omelette: Live At The JazzLab (FMR)

Australia's performing trio Omelette of Jordan Murray on trombone, Ronny Fereller on drums, and Luke Howard on piano follow up their 2014 album on Jazzhead with this live album, the trio joined by Chilean percussionist working in Melbourne Javier Fredes, for a lyrical and rhythmically rich live performance at Melbourne's JazzLab in 2017. ... Click to View


Implicate Order, The : At Seixal (Clean Feed)

The very first album from Portugal's impressive Clean Feed Records is this live album at Auditorio do Forum Cultural do Seixal from the trio of Steve Swell on trombone, Ken Filiano on bass and Lou Grassi on drums, joined by Paulo Curado on alto sax and Rodrigo Amado on baritone sax, a significant concert merging free players from two nations with profound influence on jazz music. ... Click to View


Magnus Granberg : Es Schwindelt Mir, Es Brennt Mein Eingweide (Another Timbre)

An hour-long work for an ensemble of six musicians by Swedish composer Magnus Granberg performed by Anna Lindal on baroque violin, d incise on vibraphonen electronics, Cyril Bondi on percussion, Anna Kaisa Meklin on viola da gamba, Christoph Schiller on spinet, and Magnus Granberg himself on prepared piano, transforming material from a song by Franz Schubert. ... Click to View


John Cage: Two2 (Another Timbre)

One of a handful of John Cage's number pieces, this work for two pianists follows the forms of Renga poetry, composed with 36 lines of music, each containing 5 measures, and each line having 31 events occuring in the sequence 5-7-5-7-7, with the pianists allowed their own tempo but waiting to synchronize each measure, as performed by Mark Knoop and Philip Thomas. ... Click to View


Bondi / Martel / Schiller: tse (Another Timbre)

With backgrounds in both improvisation and compositional music, the new trio of Cyril Bondi on harmonium, Pierre-Yves Martel on viola da gamba, and Christoph Schiller on spinet, agreed on a sequence of pitches for this 5 part improvisational work, allowing space for the players to explore pitch and melody within a contemplative and pensive framework. ... Click to View


Angles 3: Parede (Clean Feed)

Martin Kuchen's Angles band changes shape constantly, originally a trio and expanding as large as Angles 10, but this album, recorded live at SMUP, Parede, Portugal in 2016, returns the band to the original trio of Kuchen on sax, Ingebrigt Haker-Flaten on double bass, and Kjell Nordeson on drums & percussion, reworking Angles compositions to their essence. ... Click to View


Honest John w/ Ab Baars: Treem (Clean Feed)

The Norwegian quintet Honest John of Ole Henrik Moe on violin, Kim Johannesen on guitar & banjo, Ola Hoyer on double bass, Erik Nylander on drums & drum machine, on Klaus Ellerhusen sax and clarinet, are joined by multi-reedist and shakuhachi player Ab Baars at Nasjonal Jazzscene Victoria to capture this quirky, controlled, and incredibly knowledgeable concert. ... Click to View


Chris Pitsiokos / CP Unit: Silver Bullet In The Autumn Of Your Years (Clean Feed)

Pushing the envelope in genre-smashing collective improvisation, Brooklyn-based sax and synth player Chris Pitsiokos and his CP Unit with 2 electric bassists--Tim Dahl and Henry Fraser--2 drummers--Jason Nazary and Connor Baker--and guitarist Sam Lisabeth, take a twisted path through improv, rock, and electronics that always shows a fierce allegiance to free jazz. ... Click to View


Scott Clark: Tonow (Clean Feed)

Drummer Scott Clark continues to explore his Native American roots in this album dedicated to the protests at Standing Rock, North Dakota, each heartfelt piece titled for aspects of those demonstrations, performed with bassist Cameron Ralston, trumpeter Bob Miller, saxophonist Jason Scott, guitarist Alan Parker, and extended with Chicago guitarist Tobin Summerfield. ... Click to View


Lynn Cassiers: Imaginary Band (Clean Feed)

Composer, vocalist and electronics artist Lynn Cassiers' new septet with Sylvain Debaisieux (soprano and tenor saxophone), Ananta Roossens (violin), Niels Van Heertum (euphonium), Erik Vermeulen (piano), Manolo Cabras (double bass) and Marek Patrman (drums) in their adventurous debut album blending improv, pop aesthetics, electronics, dreamlike voice, and solid playing. ... Click to View


AMM: An Unintended Legacy [3 CDs] (Matchless)

A beautiful 3-CD set with a hardcover book presenting 3 full concerts from 2015 & 2016 of the AMM trio configuration of John Tilbury (piano), Keith Rowe (guitar) and Eddie Prevost (percussion). The 70 page book, dedicated to saxophonist Lou Gare, includes an AMM discography, plus photos, and essays by Paige Mitchell and Allen Fisher; Keith Rowe; Eddie Prevost; and Seymour Wright. ... Click to View


Mary Halvorson : Code Girl [2 CDs] (Firehouse 12 Records)

Always open to new approaches, NY guitarist Mary Halvorson takes her trio with drummer Tomas Fujiwara and bassist Michael Formanek, adds trumpeter Ambrose Akinmusire and, in a twist of the thumbscrew, vocalist Amirtha Kidambi, for a mix of song and instrumental pieces that balance jazz and rock sensibilities with lyricism, intricate lines, and creative spirit. ... Click to View


Mary Halvorson : Code Girl [VINYL] (Firehouse 12 Records)

Always open to new approaches, NY guitarist Mary Halvorson takes her trio with drummer Tomas Fujiwara and bassist Michael Formanek, adds trumpeter Ambrose Akinmusire and, in a twist of the thumbscrew, vocalist Amirtha Kidambi, for a mix of song and instrumental pieces that balance jazz and rock sensibilities with lyricism, intricate lines, and creative spirit. ... Click to View


The Thing (Gustafsson / Haker Flaten / Nilssen-Love + McPhee): Again (The Thing Records)

The Thing "again" as Gustafsson on saxophones, Haker Flaten on electric and acoustic bass, and Nilssen-Love on drums & percussion present 3 extended blues-based, Ayler-inflected free jazz pieces, with Gustafsson's powerfully emotional playing over Haker-Flaten and Nilssen-Love's powerful polyrhythmic foundations; Joe McPhee joins for one track taking on a Frank Lowe piece. ... Click to View


The Thing (Gustafsson / Haker Flaten / Nilssen-Love + McPhee): Again [VINYL] (The Thing Records)

The Thing "again" as Gustafsson on saxophones, Haker Flaten on electric and acoustic bass, and Nilssen-Love on drums & percussion present 3 extended blues-based, Ayler-inflected free jazz pieces, with Gustafsson's powerfully emotional playing over Haker-Flaten and Nilssen-Love's powerful polyrhythmic foundations; Joe McPhee joins for one track taking on a Frank Lowe piece. ... Click to View


Moholo-Moholo's, Louis Five Blokes: Uplift The People (Ogun)

Drummer Moholo-Moholo, a member of Blue Notes, Elton Dean's Ninesene, Foxes Fox, London Improvisers Orchestra, a sideman for Brotzmann, Keith Tippets sideman and drummer and most importantly, band leader in a rich, lyrical and spiritual album recorded live at Cafe Oto in 2017 with Alexander Hawkins (piano), John Edwards (bass), Shabaka Hutchings (sax) and Jason Yard (sax). ... Click to View


Daniel Carter / William Parker / Matthew Shipp: Seraphic Light (Live At Tufts University) (Aum Fidelity)

A long-form 3-part work of collective improvisation from 3 masterful New York free jazz legends--Daniel Carter on flute, trumpet, clarinet, and saxophones, William Parker on bass, and Matthew Shipp on piano--performing live at Tufts University in 2017 in a beautifully thoughtful and lyrical concert presented after a screening of the '59 film "The Cry of Jazz". ... Click to View


Ceramic Dog (Ribot / Ches Smith / Shahzad Ismaily): Y R U Still Here? [VINYL] (Northern Spy)

In the Downtown NY tradition of blurring rock and improvisation, the trio of Marc Ribot on guitar and voice, Shahzad Ismaily on bass, Moog, percussion and voice, and Ches Smith on drums, percussion and electronics, answer their own question 'why are you still here' through 11 genre-crossing songs of turmoil and inquisitiveness, perfect for the polarities of the time. ... Click to View


The Ex: 27 Passports (Ex Records)

After several years of Brass Unbound, Getatchew Mekuria, festivals and countless side projects, The Ex return to The Ex, a 4-piece led by the trio of guitars from Andy Moor, Terrie Hessels and Arnold de Boer driven by drummer Katherina Bornefeld, de Boer acerbic and insightful on this seriously great rock record; plus a 36-page photo book from Andy Moor. ... Click to View


The Ex: 27 Passports [VINYL] (Ex Records)

After several years of Brass Unbound, Getatchew Mekuria, festivals and countless side projects, The Ex return to The Ex, a 4-piece led by the trio of guitars from Andy Moor, Terrie Hessels and Arnold de Boer driven by drummer Katherina Bornefeld, de Boer acerbic and insightful on this seriously great rock record; plus a 36-page photo book from Andy Moor. ... Click to View


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Reviews of live performance


  Kristallnacht 

  (Tonic) 


Tonic September 23, 2003
   review by Phil Zampino
  2003-10-06

Kristallnacht was "the night of broken glass," November 9, 1938, when German troops unleashed a wave of pogroms against Germany's Jews.  In a matter of hours they destroyed thousands of synagogues, Jewish businesses and homes. Kristallnacht takes its name from the smashed windows of Jewish storefronts throughout Germany, and is generally considered the start of the Jewish holocaust.  It was a brutal act of terror and opression that stands in the memory of the Jewish people.

John Zorn credits the writing of this piece as one of many ways he began his particular Jewish odyssey, and much of the radical jewish culture that is associated with him and his Tzadik label begins around this period. Zorn doesn't perform this piece often, perhaps most recently ten years ago at his 40th birthday celebration at the Knitting Factory. His reticence to present this work is understandable as it's a gut wrenching, terrifying work, physically and emotionally demanding.  It also requires a Jewish ensemble of musicians, this evening faithfully reassembled from the 1992 recording with Mark Feldman on violin, Marc Ribot on guitar, David Krackuaer on reeds, Anthony Coleman on keyboard and sampler, Mark Dresser on bass, William Winant on percussion and Frank London on trumpet, with Zorn conducting.

The premier of this piece at the Knitting Factory in 1992 was an experience this writer will not soon forget. The room was blackened, all chairs and tables had been removed and the crowd stood sweating and shoved together as though they were in a cattle car on their way to a concentration camp. The presentation at Tonic was somewhat less physically intense. The audience was asked to stand due to the full house, and the lights and air were shut off as Coleman's recording of a train began its long journey, but with windows admitting dim light and in a more spacious room the claustrophobic sense was lessened, allowing more focus on the music.

The work is structured in seven movements, but in essence there are three major stylistic shifts in the piece.  Much of the piece was generated through the use of Gematria, or Jewish Numberology, in conjunction with pitch matrices derived from moments of Arnold Schoenberg's incomplete opera Moses and Aaron.  It is an eclectic mix of compositional techniques and musical styles that make it a continuously interesting and sometimes frightening listening experience.  

The first major section, after the long train sample, was a meditative and emotional piece using sephardic melodies. The piece was intensely beautiful, Frank London starting on solo trumpet, and then passing the melody from player to player.  David Krackauer in particular sent shivers down the spine with his smearing clarinet lines.  This became a symphony of anguished and crying voices against flagellating rhythms as the players joined together, while Coleman played samples of German voices overshadowing anger. The piece shifted to a macabre dance, a mocking piece still affected by harsh overdubbed voices, fading with a recording of Marlene Dietrich's mournful Jewish torch song, "Lili Marlene."

The second section, "Never Again," is the violent core of Kristallnacht.  Most players inserted earplugs as Zorn began cranking up a tone generator that is described in the notes to the CD release as containing "high frequencey extremes at the limits of human hearing & beyond, which may cause nausea, headaches & ringing in the ear."  This reporter can vouch for the last.  The piece is a shattering and disturbing reflection, disruptive and demanding.  Ribot and Coleman generated sheets of noise, and the players occassionally stamped their feet in uneven rhythms.  Feldman scraped at his violin, the music transitioned to static and devotional songs, against which belligerent overdubbed voices were heard.  Coleman worked inside the grand piano in abstracted progressions until the music quickly cut back to its harsh attack, Ribot skronking on his guitar using a ring of keys as a pick.  The movement continued in this manner for quite some time, a series of hesitations and horrors.

The third section is made of several shorter pieces, generally more reflective and using identifiably 20th century classical techniques mixed with klezmer and ethnic melodies.  It started with a twilight calm, Dresser crinkling a large piece of paper (perhaps intended to convey the sound of walking on broken glass) as the music introduced a painfully tender mood.  Feldman played sweetly as Winant gently intoned gongs.  This was followed by a briefer wall of sound with samples of argumentative voices.  The various sections oscillated between this sense of beauty and panic.  The stylistic elements of the piece were as fascinating as the cohesiveness of the composition.  Zorn's ability to accommodate such a wealth of ideas is incredible, and the player's abilities to jump emotionally and instrumentally was impressive. The composition ended with Ribot playing a driving attack, Zorn gesturing for more, more.  Krackauer moved to a large bass drum, and Frank London joined Winant on percussion as the final movement "Gariin (Nucleus-The New Settlement)" devolved into a rhythmic exposition, an uneasy ending to an uncomfortable, important work.





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