One of the more individualistic acoustic pianists of the '80s, '90s, and 2000s, Frank Kimbrough is an "inside/outside" improviser whose primary influences range from Bill Evans and Keith Jarrett to Cecil Taylor, Paul Bley, and Andrew Hill. Kimbrough can play with as much elegance as Evans or Jarrett, but that doesn't prevent him from often... [+] Read More

One of the more individualistic acoustic pianists of the '80s, '90s, and 2000s, Frank Kimbrough is an "inside/outside" improviser whose primary influences range from Bill Evans and Keith Jarrett to Cecil Taylor, Paul Bley, and Andrew Hill. Kimbrough can play with as much elegance as Evans or Jarrett, but that doesn't prevent him from often taking it "outside" and acknowledging Taylor's innovations. The pianist was born and raised in North Carolina, where he learned to appreciate a wide variety of jazz growing up, and did some gigs around Chapel Hill before moving to Washington, D.C., in 1980. During the year he lived in D.C., Kimbrough led his own trio and played a few hard bop gigs with Webster Young and Buck Hill. When Bill Evans died in September 1980, Kimbrough joined Anthony Braxton for a two-night gig paying tribute to the influential pianist.

Kimbrough moved to New York in 1981, and he started recording under his own name five years later. Two cassette-only releases he did for Mapleshade, 1986's Star Crossed Lovers (an unaccompanied solo piano effort) and 1987's Double Visions (a duet with drummer Steve Williams), are out of print, although Mapleshade released his 1988 trio recording, Lonely Woman, on CD in 1995. The 1990s found Kimbrough keeping busy by teaching at New York University and playing as a sideman in Maria Schneider's big band (which he's been a member of since 1993) and the quartet of saxophonist Ted Nash. Kimbrough has also been a key member of the Herbie Nichols Project, a band that has dedicated itself to playing and recording the music of the great but underexposed pianist Herbie Nichols. The band has been directed by bassist Ben Allison, who featured Kimbrough on the Project's Love Is Proximity album on Soul Note and his own albums Seven Arrows and Medicine Wheel. The two musicians are also co-founders of the Jazz Composers Collective. Founded in 1992, the group features music by forward-thinking composers.

In 1998, Igmod released Chant, a CD containing recordings Kimbrough made in 1992 and 1997; Saturn's Child appeared a year later, followed by 2000's Noumena. A collaboration with Joe Locke resulted in the heady The Willow, released on Omnitone in 2001. The live album Quickening was released two years later on the same label. Since then, Kimbrough has moved to the Palmetto label, releasing Lullabluebye and Play in 2004 and 2006, respectively. ~ Alex Henderson, All Music Guide [-] Hide

A longtime linchpin of the New York City underground music scene, Bill Laswell was among the most prolific artists in contemporary music; as a performer, producer, and label chief, his imprint is on literally hundreds of albums, the majority of them characterized by a signature sound fusing the energy of punk with the bone-rattling rhythms of... [+] Read More

A longtime linchpin of the New York City underground music scene, Bill Laswell was among the most prolific artists in contemporary music; as a performer, producer, and label chief, his imprint is on literally hundreds of albums, the majority of them characterized by a signature sound fusing the energy of punk with the bone-rattling rhythms of funk. Born on February 12, 1955, in Salem, IL, he initially played guitar, but soon switched to bass; raised primarily in the Detroit area, he honed his skills in local funk outfits before relocating to New York in 1978. There Laswell formed Material, an outlet for his experimental approach toward sounds ranging from jazz to hip-hop to worldbeat; originally the backup unit for Daevid Allen, the group soon began working on its own, issuing its debut EP Temporary Music in 1979.

In addition to fronting Material, Laswell also mounted a solo career, issuing Baselines in 1982 on Celluloid, a label he partly owned and operated. Appearances on key recordings by the likes of David Byrne, John Zorn, Fred Frith, and the Golden Palominos established Laswell as a virtual nexus of the downtown N.Y.C. community, and in 1983 he broke into the mainstream with his production work on Herbie Hancock's smash "Rockit," which he also co-wrote; the follow-up LP, Sound-System, won him a Grammy. Throughout the mid-'80s Laswell was everywhere, playing bass on LPs from artists including Mick Jagger, Peter Gabriel, Yoko Ono, and Laurie Anderson; he also joined the avant group Curlew, and produced a number of African acts.

In 1986, Laswell joined guitarist Sonny Sharrock, drummer Ronald Shannon Jackson, and saxophonist Peter Brötzmann in the group Last Exit; a second solo LP, Hear No Evil, appeared two years later, and after a long hiatus he also resurrected Material in 1989 with Seven Souls. Another project, the hip-hop-flavored Praxis, was resumed after close to a decade of inactivity with 1992's Transmutation (Mutatis Mutandis). In 1990, Laswell formed another label, Axiom, to explore his interest in the new sounds of ambient and techno; where in the past his work rarely appeared solely under his own name, by the middle of the decade he was issuing several solo records annually in a wide range of styles from dub to jazz. He also remained among the most prolific producers in the business, collaborating with the likes of Dub Syndicate, Pete Namlook, Buckethead, and DJ Spooky.

In 2004, Laswell signed a multi-album label deal with the Sanctuary Records group. The deal spawned his new label, Nagual. Through Sanctuary's earlier acquisition of the seminal reggae label Trojan, Laswell now had access to the Jamaican label's sizeable back catalog. Picking some of his favorite cuts and remixing them, Laswell issued the Trojan-sourced Dub Massive: Chapter One and Chapter Two in May 2005. The Only Way to Go Is Down followed on Sublight Records in 2006. ~ Jason Ankeny, All Music Guide [-] Hide

Alto and baritone saxophonist, composer, and bandleader Tim Berne was born in Syracuse, NY, in 1954, and purchased his first alto saxophone while attending Lewis and Clark College in Oregon. A fan of R&B and Motown music, he was not particularly interested in jazz until he heard saxophonist Julius Hemphill's album Dogon A.D. Immediately inspired... [+] Read More

Alto and baritone saxophonist, composer, and bandleader Tim Berne was born in Syracuse, NY, in 1954, and purchased his first alto saxophone while attending Lewis and Clark College in Oregon. A fan of R&B and Motown music, he was not particularly interested in jazz until he heard saxophonist Julius Hemphill's album Dogon A.D. Immediately inspired by Hemphill's ability to project R&B soulfulness in a creative jazz context, Berne traveled to New York City in 1974 and located the saxophonist. Berne took saxophone lessons from Hemphill and also became involved in managing the elder musician's rather infrequent concert appearances. A mentor-apprentice relationship evolved, providing Berne encouragement for his musical endeavors as well as lessons in how to operate independently. Hemphill, founder of the World Saxophone Quartet and a major figure in the 1970s New York loft jazz scene, died in 1995 leaving a considerable imprint on creative music but with his greatest promise unfulfilled. To this day, Berne cites Hemphill as a significant and continuing influence on his work.

In 1979, Berne founded Empire, his first record label, and released four albums over the next four years. These recordings featured a number of musicians who had -- or would soon have -- stellar reputations in creative jazz circles, including Paul Motian, John Carter, Olu Dara, Vinny Golia, Alex Cline, Nels Cline, and Ed Schuller. Berne's efforts attracted the interest of Italian record producer Giovanni Bonandrini, whose Soul Note label released the saxophonist's next two albums, The Ancestors in 1983 and Mutant Variations in 1984. Drummer Motian and bassist Schuller from the Empire recordings are featured on the Soul Note releases, which also introduce trumpeter Herb Robertson as a new member of the Berne coterie. Robertson first met Berne at a 1981 loft jam session and would figure prominently in many of the saxophonist's later and most successful recordings. Notably, Berne cites Mutant Variations as his first album in which compositions were written specifically for the musicians involved. Previously, he had written material without knowing exactly who would be available to record it.

With six albums as a leader to his credit, Berne then landed a major-label deal with Columbia, which released Fulton Street Maul in 1987 and Sanctified Dreams in 1988. The former album includes cellist Hank Roberts and then-ECM guitarist Bill Frisell, along with Berne and drummer Alex Cline. Sanctified Dreams features a larger ensemble with Berne joined again by Roberts and Robertson, as well as bassist Mark Dresser and drummer Joey Baron. This quintet afforded Berne the opportunity for some of his most complex and focused music to date. With Sanctified Dreams' loosening and tightening rhythms, spiky melodic lines, and attention to textural detail, Berne charted a direction that he would continue to explore even more deeply on subsequent recordings.

Not a bastion of the avant-garde, Columbia issued only two recordings and Berne's relationship with the label was over. German producer Stefan Winter then signed Berne to his JMT label and from 1989 until 1995, the saxophonist was given free rein to pursue a number of challenging projects. These resulted in two recordings by the collaborative trio Miniature, featuring Berne, Roberts, and Baron; Fractured Fairy Tales, Berne's first JMT recording as a leader; and Pace Yourself and Nice View by Tim Berne's Caos Totale. The two Caos Totale recordings, released in 1991 and 1993, featured an extended ensemble of Berne with Robertson, Dresser, trombonist Steve Swell, drummer Bobby Previte, and French guitarist Marc Ducret. (Nice View also includes British musician Django Bates on keyboards and E flat peck horn.) The Caos Totale recordings reveal a mature and self-assured Berne with an instantly identifiable saxophone style and a compositional approach moving toward extended-form pieces of extraordinary scope. Diminuitive Mysteries (Mostly Hemphill), Berne's heartfelt tribute to his friend and mentor, was also released by JMT in 1993, only two years before the gravely ill Hemphill died of a heart condition. That Hemphill was pleased by this homage remains a source of great satisfaction to Berne.

Berne's career was about to move into a new phase marked by the formation of an important new band and a second new label. In 1991, Berne had recorded a session led by bassist Michael Formanek for Formanek's Extended Animation, released the following year by Enja. In 1992, the two musicians recorded again, this time in a collaborative trio with drummer Jeff Hirshfield from the Extended Animation ensemble. The result was Loose Cannon, released by Soul Note in 1993, a recording that reveals Berne and Formanek to be a particularly compatible reeds-and-bass team. Berne became interested in leading his own trio with Formanek as the bassist, and chose Jim Black, a recent arrival to New York City from Boston, as the drummer. Berne soon decided that a quartet would serve as a better outlet for his "composing jones" and following a recommendation from Black added tenor saxophonist and clarinetist Chris Speed to the group. (Speed, like Black, was originally from Seattle and studied in Boston before making the jump to New York.) Berne now had a new working quartet, which he named Bloodcount. Still under contract to JMT, the quartet headed to Paris in September 1994 and joined up with guitarist Ducret for four nights of concerts to be recorded live. In 1995, the results appeared on a trilogy of JMT CDs, Lowlife, Poisoned Minds, and Memory Select. On the CDs, the members of Bloodcount stretch out with individual and collective improvisations that are slowly drawn back into unison structures which retain Berne's skewed R&B sensibility. Extended-form compositions, now stretched to the 30- to 50-minute range, are filled with episodes of gradually escalating tension with sometimes intentionally muted, rather than explosive, resolution.

The Paris concert trilogy of recordings received considerable acclaim, but the JMT label was soon to disappear, taking Berne's recordings out of circulation. JMT had a distribution deal with Polygram, which after purchasing the label decided to shut it down. Berne's entire back catalogue of JMT recordings was deleted and much of the music he had written and performed during the early '90s was gone. "It's like being erased," he commented to the New York Times.

In characteristic fashion, Berne moved forward and established his second independent label, Screwgun, which has since become the major outlet for his work. With guerilla recording tactics, plain brown packaging, and wild and scribbly Steve Byram graphic art, the Screwgun CDs present Berne at his roughest and edgiest. Bloodcount Unwound, the label's inaugural release in 1996, is a three-CD energy blast recorded live by the core quartet (minus Ducret) at club dates in Berlin and Ann Arbor, MI. A slew of additional recordings followed during the remainder of the 1990s, including Discretion and Saturation Point by Bloodcount and Visitation Rites and Please Advise by Paraphrase, Berne's improvising trio with bassist Drew Gress and drummer Tom Rainey. Berne continues to appear on other labels as well. I Think They Liked It Honey by the Big Satan trio of Berne, Ducret, and Rainey was released on Stefan Winter's Winter & Winter label in 1997; other recent CDs include Ornery People by the Berne and Formanek duo on Little Brother Records, Cause and Reflect by Berne and Hank Roberts on Level Green, and Melquiades by the Italian band Enten Eller (with Berne as guest alto saxophonist) on Splasc(h) Records. At the June 2000 Bell Atlantic Jazz Festival in New York City, Berne premiered two new ensembles, both of which feature former Detroit-area keyboardist and Roscoe Mitchell collaborator Craig Taborn, along with members of Big Satan. Shell Game was released by the Hard Cell trio the following year, and 2002 and 2003 saw the release of Science Friction and The Sublime And by Berne's Science Friction quartet. The year 2004 saw Berne release Hard Cell Live on Screwgun and the issue of Souls Saved Hear, a new studio recording from Big Satan on Thirsty Ear. Recorded in Brooklyn, NY and Ann Arbor, MI, Hard Cell Live arrived later that year, followed by three Live in Paris collections (Lowlife, Poisoned Minds and Bloodcount) in 2005.

Tim Berne is an important member of the New York City creative music community whose contributions invite comparison to those of fellow New Yorker John Zorn. Like Zorn, Berne asserts a strong and singular musical personality throughout his diverse and frequently absorbing works, he has influenced other and often younger creative improvising musicians, and he knows his way around the music business. The last attribute has been particularly useful to Berne, who has been quick to establish independent record labels if necessary to get his music recorded and released to the public. Not beholden to major-label sensibilities, Berne has been free to explore a singular and uncompromising musical path. ~ Dave Lynch, All Music Guide [-] Hide

In the early '90s, the direct musical heirs of Taylor, Ayler, and Coleman were mostly ignored by New York jazz critics, who found more to like about the hard bop revivalists who dominated major-label recording. Hence, the public visibility of musicians devoted to an "energy music" aesthetic was minimal. Despite its low profile, however, that... [+] Read More

In the early '90s, the direct musical heirs of Taylor, Ayler, and Coleman were mostly ignored by New York jazz critics, who found more to like about the hard bop revivalists who dominated major-label recording. Hence, the public visibility of musicians devoted to an "energy music" aesthetic was minimal. Despite its low profile, however, that strain of free jazz was kept alive by a fairly large group of Lower East Side musicians, many of whom gathered around the music's pre-eminent bassist, William Parker. Parker was the scene's major catalyst for musical activity. With his wife, dancer Patricia Nicholson, and other downtown free players such as drummer Jackson Krall and pianist Mark Hennen, Parker founded the Improvisers Collective, an organization that presented free jazz in combination with other types of spontaneous performance. Beginning in 1994 (and continuing in one form or another as of this writing), the collective produced a well-received series of concerts and festivals that featured some of the city's finest free improvisers -- saxophonists Marco Eneidi, Sabir Mateen, and Daniel Carter, trumpeter Lewis Barnes, and pianist Cooper-Moore, to name a few. Parker was the fulcrum of the collective; he played in nearly all of its various ad hoc groups, and led the Collective's enormous big band, which later recorded under Parker's name as the Little Huey Creative Music Ensemble.

As a bassist, Parker is possessed of a formidable technique, albeit an unconventional one. Unlike a great many jazz bassists, Parker was not formally trained as a classical player, though he did study with three of the finest jazz players of the '60s, Jimmy Garrison, Richard Davis, and Wilbur Ware. Consequently, Parker's style is based on a tradition of self-expression and experimentation. His arco work is possibly the most fascinating aspect of his idiom; Parker excels at the creation of dense, hyperactive streaks of color, gleaned from the inherent harmonic properties of the instrument. At bottom, he is a textural player. Lyricism plays a secondary role in his work, with or without the bow. Parker's pizzicato style is overwhelmingly percussive, in intent and effect. Though he does, to an extent, serve as a harmonic anchor in his groups, his more important role is as a source of energy. Parker drives a band like few other bassists; in combination with a powerful drummer, a Parker-led rhythm section is an inexorable force.

Parker grew up in New York City. Very early in his career he formed an association with Cecil Taylor; Parker played Carnegie Hall with the pianist in the early '70s. Parker released his first album as a leader in 1979. Through the Acceptance of the Mystery Peace (on Parker's own Centering Records) featured saxophonists Charles Brackeen and Jemeel Moondoc and violinist Billy Bang. Parker became Taylor's regular bassist in the '80s. He played on several of the pianist's European records, and on Taylor's most recent domestic major-label release, 1989's In Florescence, on A&M. Parker left Taylor in the early '90s and began working more often as a leader. He recorded a big-band record for his own label, then began releasing a series of CDs for other companies, significantly Black Saint. Besides his activities as a leader and community organizer, Parker would continue to work as a sideman through the mid-'90s; he remained the bassist of choice for downtown free players like David S. Ware, Matthew Shipp, and Rob Brown.

2000 was particularily busy for Parker as he recorded three of his own dates (Mayor of Punkville, Painter's Spring, and O'Neal's Porch) and appeared on numerous other recordings as sideman. ~ Chris Kelsey, All Music Guide [-] Hide

Bassist and composer Michael Formanek has been a major presence on the New York City creative jazz scene since the 1990 release of his debut album as a leader, Wide Open Spaces, on the Enja label. Formanek had already proven himself a skillful sideman in ensembles led by the likes of Freddie Hubbard, Joe Henderson, Dave Liebman, Fred Hersch, and... [+] Read More

Bassist and composer Michael Formanek has been a major presence on the New York City creative jazz scene since the 1990 release of his debut album as a leader, Wide Open Spaces, on the Enja label. Formanek had already proven himself a skillful sideman in ensembles led by the likes of Freddie Hubbard, Joe Henderson, Dave Liebman, Fred Hersch, and Attila Zollar, but Wide Open Spaces was the first recording that revealed the bassist's ability to write widely varied compositions emphasizing the strong talents of his own ensemble members (in this case saxophonist Greg Osby, violinist Mark Feldman, guitarist Wayne Krantz, and drummer Jeff Hirshfield). In 1992, Enja released Formanek's second recording, Extended Animation, which featured the same bandmembers as Wide Open Spaces except for one important difference: a switch in saxophonist from Osby to Tim Berne.

From the unison bass-sax line in the opening measures of the first tune "Liar's Web," the compatibility of Formanek and Berne is apparent; they would continue a fruitful musical partnership for the remainder of the decade. Extended Animation also reveals Formanek's skill in writing compositions of greater length and complexity than the generally shorter vignettes on Wide Open Spaces. The same year that Extended Animation was released, Formanek, Berne, and Hirshfield entered the studio to record Loose Cannon for Italian producer Giovanni Bonandrini's Soul Note label. This trio session, with bass and sax squarely in the spotlight, further cemented the nascent Formanek-Berne relationship. Loose Cannon was released in 1993, as Formanek returned to the studio for another Enja session, this time with his largest group yet. The septet on Low Profile included Formanek and Berne along with trumpeter Dave Douglas, multi-reedist Marty Ehrlich, trombonist Ku-umba Frank Lacy, drummer Marvin "Smitty" Smith, and pianist Salvatore Bonafede. With its balance of high-energy improvisational passages and intricate ensemble arrangements, Low Profile was regarded by many critics as one of the strongest creative jazz CDs of 1994.

Meanwhile, Tim Berne decided to tap Formanek for Bloodcount, his quartet also featuring saxophonist/clarinetist Chris Speed and drummer Jim Black. In September 1994, the four musicians, plus guitarist Marc Ducret, recorded several nights of concerts for Stefan Winter's JMT label; the resulting music was released in 1995 on a trio of classic Bloodcount CDs: Lowlife, Poisoned Minds, and Memory Select. The demise of JMT came soon after, but Bloodcount continued to record (minus Ducret) for Berne's new Screwgun label. Formanek appears on three Bloodcount recordings issued by Screwgun: the Bloodcount Unwound three-CD box set (1996), as well as Discretion and Saturation Point (both 1997). Still under contract to Enja, Formanek recorded Nature of the Beast, his fourth album for the label, in 1996. The CD was released the following year and features a core quartet including trumpeter Douglas, trombonist Steve Swell, and a drummer with whom Formanek had been developing a particularly strong rapport: Bloodcount's Jim Black. Also making appearances on selected tracks were tenor saxophonist Tony Malaby, a relative newcomer to the New York creative improvising community, and both Berne and Speed. Everyone appears on the stunning, 12-minute "Thick Skin/Dangerous Crustaceans," sounding quite like an extended ensemble version of Bloodcount.

As the 1990s drew to a close, Berne put Bloodcount on hold, but Formanek continued his liaison with the saxophonist. They toured throughout the United States as a duo and in 1998 released the CD Ornery People on the Little Brother label. That same year, Screwgun issued Am I Bothering You?, a Formanek solo CD that fully reveals the bassist's improvisational skills and mastery of extended techniques. In addition, Formanek toured in 1998 as a member of drummer Gerry Hemingway's new American quartet, which also included trombonist Ray Anderson and tenor saxophonist Ellery Eskelin.

On the 1999 Enja CD Relativity, Formanek appeared in a new collaborative trio with reedman Ehrlich and drummer Peter Erskine, drawing critical praise for his ability to maintain a propulsive groove while also providing the ensemble with plenty of room for abstract exploration. At the June 2000 Bell Atlantic Jazz Festival in New York City, Formanek premiered Northern Exposure, a new quartet with drummer Black, trumpeter Dave Ballou, and saxophonist Henrik Frisk.

Despite all this activity, Formanek remained an in-demand session bassist throughout the 1990s, performing on CDs by leading creative jazz artists such as Jane Ira Bloom, Uri Caine, Marty Ehrlich, James Emery, Lee Konitz, Kevin Mahogany, the Mingus Big Band, the New York Jazz Collective, Daniel Schnyder, and Jack Walrath. By the year 2000, he had appeared on over 60 recordings as leader, collaborator, or sideman. Michael Formanek has proven that he can do it all: stunning bassist, adept composer, top-notch bandleader, and first-call sideman to many of the most highly regarded artists in creative jazz. Given his string of accomplishments over the last decade, jazz fans can remain hopeful that Formanek has even more to offer in the years ahead. ~ Dave Lynch, All Music Guide [-] Hide

This recording is an important part of bassist William Parker's early discography. The CD collects the four ensemble pieces issued on the original LP, but adds one number and includes the complete version of another that was clipped. The sound quality is slightly subpar, but the raw, 1960s feel of this album should appeal to those who appreciate... [+] Read More

This recording is an important part of bassist William Parker's early discography. The CD collects the four ensemble pieces issued on the original LP, but adds one number and includes the complete version of another that was clipped. The sound quality is slightly subpar, but the raw, 1960s feel of this album should appeal to those who appreciate the unassuming brilliance of this giant of the string bass. Each of the five tracks features different groups, with Parker composing all pieces and appearing on four. The two larger ensembles presage some of the large bands Parker was to lead in the 1990s. Here, he features soloists on the level of Toshinori Kondo on alto horn, Daniel Carter on saxophones and trumpet, and Charles Brackeen on tenor saxophone. The chamber-like smaller groups stun with shimmering beauty, and string players Billy Bang, Tristan Honsinger, Ramsey Ameen, and Jason Hwang each contribute nicely. Some may not completely appreciate Parker's heartfelt recitation on the closing number, but there is plenty here to satisfy those who enjoy the bassist's style of new music. ~ Steve Loewy, All Music Guide [-] Hide

If ever there was a companion recording to Chick Corea & Gary Burton's "Crystal Silence," this is it. Pianist Kimbrough and vibraphonist Locke perfectly echo the serene, shimmering, chamber-like sentiment which the Corea-Burton tag-team so eloquently evoked on that ECM classic of the '70s. This recording is similar in timbre and taste, but... [+] Read More

If ever there was a companion recording to Chick Corea & Gary Burton's "Crystal Silence," this is it. Pianist Kimbrough and vibraphonist Locke perfectly echo the serene, shimmering, chamber-like sentiment which the Corea-Burton tag-team so eloquently evoked on that ECM classic of the '70s. This recording is similar in timbre and taste, but stretches a few parameters and reaches toward deeper introspective fathoms. The pair wrote all but one of these nine mind and heart melters. At their most spirited on "Waltz for Lee," Locke positively flies while Kimbrough's piano is at its soulful zenith. Through a dramatic samba beat with definite arabesque figures and multi-directional rhythmic components, "Trouble Is a Gorgeous Dancer" offers a shifting attitude and melodic themes which constantly change. Ruminating vibes on an extended intro for "Empty Chalice" leads to reverential piano in a peaceful, lonely setting. More inward searching on the title cut evinces a hymnal classicism, very typical of an ECM recording. At their darkest during a brooding "Sanibel Island," in the daybreak mode of "727," or way down in the balladic tones of "I Still Believe in Love," Locke and Kimbrough are clearly working off the inclinations of each other, listening closely. "Midnight" is perhaps the most atypical; scattered shards of vibes and underground piano are foreshadowed by an ascending stair-step melody that drifts over a waterfall of sheer blues -- a crystalline sound that is quite a contrast to the previous approach. This is a wonderful recording that should make Corea & Burton a little envious. ~ Michael G. Nastos, All Music Guide [-] Hide

As the second release in the acclaimed Blue Series from Thirsty Ear Recordings, Painter's Spring by the William Parker Trio sustains the living bolt of energy infused in the free and avant-garde jazz genres by the debut of Matt Shipp's Pastoral Composure. Bassist William Parker wrote all of the compositions except the traditional "There Is a... [+] Read More

As the second release in the acclaimed Blue Series from Thirsty Ear Recordings, Painter's Spring by the William Parker Trio sustains the living bolt of energy infused in the free and avant-garde jazz genres by the debut of Matt Shipp's Pastoral Composure. Bassist William Parker wrote all of the compositions except the traditional "There Is a Balm in Gilead" and "Come Sunday," and together with Daniel Carter on alto and tenor sax, flute, and clarinet and Hamid Drake on drums, the trio lifts the program to the listener's attention with the melding of individual talents into one powerful musical force. The CD features a three-song suite -- "Foundation #1," "Foundation #2," and "Foundation #4" -- and all are pure Parker with their wicked, loosely defined vamps full of buzzing, open drones, and short jabs. His spontaneous feelings and subtle variations that on "Come Sunday," complete with ample blocks of rhythm and melody, allow one to experience another level of sound through his masterful musician dimensions. As a master of the acoustic bass, Parker's techniques on Painter's Spring range from playing the bass in a percussive-like mode to using a mixture to staffed notation and diagrams in order to achieve an orchestral fidelity. Daniel Carter's performances are never the same and he blows an amazing set from beginning to end. Hamid Drake improvises his visions within the setting provided by Parker and Carter, drums an astounding solo on "Flash," and through this dynamic trio, this program pierces the veil of avant-garde and free jazz mystery. ~ Paula Edelstein, All Music Guide [-] Hide

Slightly more traditional in its approach than much of bassist/producer Bill Laswell's fusionary world music outings, the mesmerizing Nagual Site was one of the first releases from head Chieftan Paddy Maloney's eclectic label, Wicklow. A breathtakingly original Indian/ambient music fusion, the lushly-textured album prominently features the vocal... [+] Read More

Slightly more traditional in its approach than much of bassist/producer Bill Laswell's fusionary world music outings, the mesmerizing Nagual Site was one of the first releases from head Chieftan Paddy Maloney's eclectic label, Wicklow. A breathtakingly original Indian/ambient music fusion, the lushly-textured album prominently features the vocal talents of Gulam Mohammed Khan and Sussan Deyhim, as well as more subtle contributions from frequent Laswell co-conspirators like guitarist Nicky Skopelitis, bassist Jah Wobble, Indian percussion masters Badal Roy and Zakir Hussain, and former P-funk keyboardist Bernie Worrell. Remarkably seamless and organic, this is one of Laswell's most heady stylistic brews. ~ Bret Love, All Music Guide [-] Hide

Upper Egypt is the third recording from Wayne Horvitz and Zony Mash, and it shows the band growing tighter and tighter as time goes by. They've really become a band, as opposed to another project headed by Horvitz, even with Keith Lowe replacing Fred Chalenor on bass. Although the band was started as an excuse for Horvitz to play his Hammond... [+] Read More

Upper Egypt is the third recording from Wayne Horvitz and Zony Mash, and it shows the band growing tighter and tighter as time goes by. They've really become a band, as opposed to another project headed by Horvitz, even with Keith Lowe replacing Fred Chalenor on bass. Although the band was started as an excuse for Horvitz to play his Hammond B-3, Upper Egypt incorporates more of his other keyboard sounds than their previous recordings. Thanks to programming many of his own synth sounds, Horvitz has an immediately identifiable sound that goes perfectly with his unique playing and compositional style; even on the B-3, you know it's Wayne Horvitz. Always in control of tone and timbre, Horvitz colors the music beautifully, deftly moving between B-3 and his other keyboards. Guitarist Tim Young really steps into his own on this record as well. Sounding derivative of no one, he summons a wide range of tones and styles, from the delicate "Forever" to the Meters-like funk of "Snakebite" to the slow burn of "Goes Round and Round," a tune dating back to the President songbook. Andy Roth and Keith Lowe are a rock-solid rhythm section, keeping things well anchored as Horvitz and Young alternate solos and comping. Roth is a consummate time keeper: always tasteful and never flashy. Upper Egypt demonstrates what can happen when four talented individuals act with one mind: a great record. ~ Sean Westergaard, All Music Guide [-] Hide