I can recall that during those years there was a definable new wave sweeping across the East Coast music scene, along with a radical soul and a quest for new sounds, a real revolution that marked a overcoming of the Afro-American influences which had dominated the 70s' Free Jazz movement... (Andrea Centazzo) Live In Woodstock
Environment for sextet LP was made possible by a generous loan from the unforgettable Tom Cora, without which I would not have been able to release it. Tom had the foresight. In fact, for years this was considered one of the best combos to emerge from the nascent New York scene.
Noboru Jones, a native Californian, is one of the most remarkable new voices rising from the underground Los Angeles contemporary scenes. This state of the art jazz recording featuring Lutte Berg (Sweden) guitars & Roberto Ottaviano (Italy) saxes and Noboru Jones percussion. A cross over of ECM-style jazz, improvised music and world music with a taste of new age on the top. Dream-like atmospheres in the typical contemporary digital sound. Amazing trio recorded live in Austria. The Middlesex
“The Nu Band is something special. Free bop with a political message . . . These guys ARE free jazz. Each of them has played a major role in shaping what the genre is today, in showing new ways of expressing emotions and of jointly creating a superb listening experience . . . This is music that is adventurous, emotional, but at times so tight, so interlocked, so on the same level, that it's getting uncanny. But the greatest thing : it's real fun too. The intensity! The interplay! The melodies! The emotions! The music!” (Steph.blogspot)
...probably the most important band in Polish Jazz of 1980s - the Quartet. Created by four equally talented musicians, it was the typical 'band without a leader.' The ensemble consisted of Slawomir Kulpowicz (piano), Tomasz Szukalski (saxophones), Pawel Jarzebski (bass) and Janusz Stefanski (drums). Although the promise of the Quartet, which formally existed for only two years (1978-1980), has never fully materialized, the band won a permanent place in the history of Polish jazz. It was probably the most ambitious and original attempt by any Polish jazz musicians, except Zbigniew Seifert, to re-interpreted the music of late John Coltrane and McCoy Tyner...
Live document of the extraordinary musical event during five nights stand at Alchemia club in Cracow, Poland in March 2004. Limited edition release: all box sets are individually numbered. Each box set includes 12 CDs and booklet with comprehensive essays, interviews and reviews in Polish and English languages. Exquisite packaging includes 3 x 4-disc units, each housed in a different 4-color folio. Absolutely unique design, five different covers and more!
This is vol.1 of the debut double album recorded in November 2009 of the new exciting duo The Way formed by soprano sax master Joe Giardullo and percussionist and composer Andrea Centazzo. Finally after chasing each others for years, they met for a new sonic adventure.
This is vol. 2 of the debut double album recorded in November 2009 of the new exciting duo The Way formed by soprano sax master Joe Giardullo and percussionist and composer Andrea Centazzo. Finally after chasing each others for years, they met for a new sonic adventure.
Composing is a very conscious process to handle musical material. Basis is the abstraction of a concrete material. To abstract abstract material is absurd. (Thomas Pernes)
"Light On The Wall," Daisy/Vandermark Duo: Tim Daisy [drums] and Ken Vandermark [tenor/Bb clarinet] toured Europe in May of 2007 for nearly a month, and recorded this double LP for Laurence Family Records to be released on this new vinyl-only label. The source for the first LP is the duo's performance at the Dragon Club in Poznan, Poland; the second album represents rare solo performances by the two musicians- side [c] is Daisy's first document of solo drums, and side [d] documents Vandermark's first use of the A clarinet, a series of improvisations dedicated to Jimmy Giuffre. (KenVandermark.com)
This album features Polish clarinet player Waclaw Ziempiel and American drummer Tom Daisy in series of duets and quartets with special quests: American horn player - Dave Rempis and Ukrainian bass maestro - Marka Tokara. All material was recorded live at Alchemia club in Krakow but without public participation.
"The Moon Music" is so far the most complete development of strictly composer path of Gwincinski, a continuation of evolution shown on albums recorded with Maestro Trytony and "Indoor Games" created with Non Linear Ensemble - which, in different set - ups accompanies the composer here.
This already widely admired record is a creation of three free style masters: the famous trumpet player and composer Tomasz Stanko and two Norwegians - bassist Arild Andersen and drummer Jon Christensen. Six compositions by Stanko and three by Andersen form together a logical sequence, an entity in a larger sense. Wrote British reviewer in "THE WIRE": "Stanko developed his own, highly integrated, transparent style. The music on this record is really absorbing, the execution-impressive".
Tomasz Stanko’s smouldering Slavic soul music and grainy-toned trumpet finds a new context on “Dark Eyes”. Like his hero Miles Davis, the Polish jazz master also has an impressive record as talent scout and mentor, and his latest ensemble pools young players from the North of Europe.
And everything began with a small golden statue of a faun-like Beelzebub, a small sculpture of the purest gold, so finely engraved, so chased, so done up to perfection that it seemed to be the work of some truly beelzebubic Donatello from out of this word or of some Occidentalized Chinaman who spent his whole life forging that one unique thing... from "Peyotl" by Witkacy
"When music has this quality (sounding new each time), be it composed or improvised, written recently or long ago, in a particular recognizable style or none at all, none of this is of any consequence. The players don't matter, instruments are of no importance, the techniques of playing, the tonality of the piece, the tempo, all are just window dressing. The music is bigger than all these when its purpose is fulfilled. Absolutely, cheers to Stanko for his remarkable achievement. "
