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Showing results for tags 'Songlines'.
Found 3 results
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Peter Epstein is a name I hadn't heard in quite a while, but he's got a nice new CD out on Songlines called Polarities. Here's an excerpt from the full review on my blog: "Epstein has always had flawless technique, but he tended to be a little too laid back over the course of an entire album, and his improvisations could wander a bit. I'm happy to report that he's fixed those minor flaws on Polarities. There's a nice variation in mood and tempo, and he brings the heat when needed. It's a controlled burn, certainly, and Epstein never loses the lyricism that defines his style. He’s good on both horns, but on alto is where you can really hear his unique voice." You can read the full review of Polarities on Improvised.
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The group Kartet recently released their sixth album, Grand Laps. Pianist Benoit Delbecq is probably the most recognizable name to most outside of France. Here's a portion of my review: "Even though the line-up is that of a classic jazz quartet, this is not a horn-with-rhythm section album; it’s more egalitarian in design. The music on Grand Laps generally unfolds at an unhurried pace, and the structures the group use emphasize dialog, not blazing displays of virtuosity. At some points I was reminded of Miles’ second quintet in their more introspective moments. There’s an MBase influence lurking as well in the angular nature of some of the compositions." You can read the full review of Grand Laps on my blog.
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I've posted a review of guitarist/oudist Gordon Grdina's new one, No Difference with Kenton Loewen, Mark Helias and Tony Malaby. Here's an excerpt from the review: "No Difference is an eclectic affair. The pieces, all by Grdina, are a mix of studio and live performances, ranging from duos with Helias to a trio track to quartet tracks with Malaby. Grdina has been quoted as saying he has tried to hear Wayne Shorter’s and Albert Ayler’s music through the guitar, but his single note lines and slightly distorted tone on the electric reminded me more of late 60s/early 70s fusion. Tony Malaby adds a lot to the quartet tracks, with gritty improvisations that retain a tie to the underlying melodies." The full review of No Difference is on my blog.
