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- Review count31
- Helpfulness votes2
- First reviewAugust 18, 2009
- Last reviewFebruary 20, 2013
- Featured reviews2
- Average rating4.6
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![Die like a Dog: The Complete FMP Recordings [CD] [PA]](https://pisces.bbystatic.com/image2/BestBuy_US/images/products/1919/19194403_sa.jpg)
Customer Rating
5
Destination Out
on May 22, 2011
Posted by: dbrierly
from Studio City, CA
Peter Brotzmann’s Die Like a Dog Quartet is my favorite of the many bands the protean saxophonist has played with during his career. The musical telepathy exhibited by Brotzmann, trumpeter Toshinori Kondo, bassist William Parker and drummer Hamid Drake is simply out of this world. That’s about the best description of the music, as well. While fans of Brotzmann’s familiar sonic aggression won’t be disappointed, the music on these four discs consistently explores intriguing and less contentious areas of harmonic space. There’s plenty of darkness, to be sure, yet it’s tempered by the supple, open feeling established by Parker and Drake’s rhythmic conception, which often grounds the music in something approaching structure. They are arguably the tightest and most inventive rhythm section Brotzmann has ever fronted. And in Kondo (who plays trumpet and contributes electronics), Brotzmann has found his most unique front-line partner, a musician who both complements the setting and establishes something apart from it. Kondo’s like an electrified Miles on acid, yet his conception is even more out there than Miles even dared. The trumpeter alternates white-hot banshee wails with an informal lyricism that seems to have similarly inspired Brotzmann, who indulges in surprisingly affecting moments of introspection. The two combine to produce an inexhaustible flow of ideas, raining down thunder while spitting out shards of tonality that drift in and out of the not-quite-as-dissonant-as-it-seems mix. Ultimately, this music is impossible to adequately describe or even categorize. Most will call it free jazz, but it goes way beyond that descriptor. It might be more accurately described as healing balm for the spirit and the soul. All you need to know is that you need to have this set in your collection. Even if you don’t consider yourself a fan of free jazz, Die Like a Dog will make you a believer.
I would recommend this to a friend!
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![Komeda: The Innocent Sorcerer [CD]](https://pisces.bbystatic.com/image2/BestBuy_US/images/products/1899/18997518_sa.jpg)
Customer Rating
4
Channeling Komeda
on March 4, 2011
Posted by: dbrierly
from Studio City, CA
This is a wonderful tribute recording to the late, great Krzysztok Komeda, Poland’s leading jazz artist in the fifties and sixties and the man who scored Roman Polanski’s early films. Komeda’s haunting melodies, off-center rhythms and experiments with form made him an iconic figure in his native land as well as abroad. Fittingly, Polish saxophonist Adam Pieronczyk, who conceived and directed this project, eschewed an imitative approach in favor of a more oblique treatment. He replaced piano with guitar, applied a wider array of percussion effects beyond the standard drum kit, and created arrangements that exhibit a much different overall soundscape while still evoking the quicksilver spirit of Komeda’s original recordings. Pieronczyk’s interpretations are a bit less adventuresome, perhaps, but are still imbued with appropriately dark emotional tonalities. Komeda likely would have approved.
I would recommend this to a friend!
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![Live at Jazzwerkstatt Peitz [CD]](https://pisces.bbystatic.com/image2/BestBuy_US/images/products/1905/19052297_sa.jpg)
Customer Rating
5
Lacy in a Monkish Mood
on March 3, 2011
Posted by: dbrierly
from Studio City, CA
It’s no secret that Steve Lacy had a special affinity for Thelonious Monk. When asked what initially drew him to Monk’s music, Lacy replied that it was “a way to go through something and reach another stage.” That’s a pretty apt description of the late soprano saxophonist’s lifelong approach to the art of jazz improvisation. Throughout the course of his career, Lacy proved himself as arguably the best interpreter of Monk’s off-center compositions, without, however, surrendering his own musical personality. This was especially evident on this live 1981 solo recital at Germany’s Jazzwerkstatt Peitz. Lacy leads off the set with four consecutive Monk tunes, and delivers wonderfully searching and affecting renditions that open up new directions while remaining faithful to Monk’s spirit. Lacy follows up with four of his own compositions, whose angular yet lyrical contours are a perfect complement to Monk’s. The absence of a rhythm section in no way inhibits Lacy’s ability to swing, even while channeling traditional and non-traditional impulses. And the stripped down approach allows him to really get at the core of jazz music, namely, the blues. If you call yourself a Steve Lacy fan, this belongs in your collection.
I would recommend this to a friend!
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![Ligeti: String Quartets Nos. 1 & 2 [CD]](https://pisces.bbystatic.com/image2/BestBuy_US/images/products/1830/18302615_sa.jpg)
Customer Rating
5
Musical Metamorphosis
on March 1, 2011
Posted by: dbrierly
from Studio City, CA
Ligeti only wrote two string quartets in his lifetime (regrettably), but both are superb examples of the form, in which the composer’s unique synthesis of atonal and lyrical elements are on full and glorious display. The First String Quartet was written in 1953-54, when Ligeti’s musical language was still evolving, and is unsurprisingly more traditional in form. Yet even at this early stage, his work betrayed his experimental nature. The melodic line, while highly accessible, proceeds in nervous, jagged fashion, engaging the listener emotionally while keeping him or her off balance intellectually. This characteristic duality would become more pronounced as Ligeti’s art matured. The four movements alternate between moments of almost frenzied atonality with passages of heartbreaking lyricism and stillness. Also noteworthy is how Ligeti concentrates on the sound of each instrument, making the distinct tonal textures of violin, viola and cello integral elements of the musical narrative. The Second String Quartet is a much different and far more formidable animal, foregrounding the radical abstraction of its harmonic and rhythmic contours. A pronounced sense of restlessness and foreboding pervades the first four movements, with the threat (or promise) of a violent explosion at any moment. The writing has a muscular, at times brutal power. Yet for all its fierce experimentation, it’s no less accessible than Ligeti’s earlier, more conventional quartet, and the beatific serenity of the last movement is one of the most moving, if enigmatic, five minutes of music you’re likely to come across.
I would recommend this to a friend!
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![Michael Nyman: Collections [CD]](https://pisces.bbystatic.com/image2/BestBuy_US/images/products/1889/18891206_sa.jpg)
Customer Rating
4
Portrait of the artist in three spectrums
on November 27, 2010
Posted by: dbrierly
from Studio City, CA
Michael Nyman fans should find themselves in minimalist heaven with this multi-media release from the noted composer. This nifty little box set includes a CD featuring a selection of cuts from Nyman’s record label (including pieces that have appeared in the soundtracks to “The Piano,” “The Draughtsman’s Contract” and “Prospero’s Books”); a DVD of his short film “50000 Photos Can’t Be Wrong,” which artfully blends still and moving images Nyman has taken in recent years accompanied by his music; and a small-format hard-bound book of his photographs from various series that play with concepts of time and space, reality and abstraction, energy and decay. Linking these discrete yet complementary mediums is Nyman’s trademark focus on simplicity and repetition, and his ability to create hypnotic visual echoes of his deceptively complex—and emotionally satisfying—musical constructs.
I would recommend this to a friend!
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![Only the Devil Has No Dreams [CD]](https://pisces.bbystatic.com/image2/BestBuy_US/images/products/1889/18892596_sa.jpg)
Customer Rating
5
Collective improvisation at its finest
on November 24, 2010
Posted by: dbrierly
from Studio City, CA
From the fiercely atonal opening squonks of “Only the Devil Has No Dreams,” listeners know they’re in for a no-holds-barred free-jazz workout courtesy of heavyweight avant-garde saxophonists Peter Brotzman, Ken Vandermark and Mats Gustafsson, who periodically perform and record within the collective trio Sonore. This is the second of their three recordings to date, and the musicians once again exhibit their well-known concern with exploring the outer limits of melody, harmony and rhythm. What may surprise those unfamiliar with these particular horn players is the surprising lyricism and deep-seated emotion they call forth within their uncompromising approach. Make no mistake, this is the cutting edge of modern jazz. Brotzman, Gustafsson and Vandermark tear down the traditional parameters of jazz and refashion it according to their own musical logic, in which lyrical impulses flow organically from their collective improvisation. No matter how abstract the music gets, it still channels the fundamental jazz elements of blues and swing. The members of Sonore just express these qualities in a stark modernist vernacular. The cumulative power and intensity of their three horns is, at times, staggering. Brotzmann unleashes his trademark hyper-aggression, while also exhibiting the greater discipline he’s manifested in the past decade or so. Gustafsson brings his confrontational sensibility and mad improvisational skills, and Vandermark rounds things off with his punk energy and astringent lyricism. What’s more, Sonore is fiercely democratic: each member is accorded equal freedom and prominence, yet they manage never to step on each other’s toes. And the range of sonic tonalities they conjure is nothing short of astonishing, from full-throated staccato growls to delicately shaded bluesy phrases. Despite the lack of a rhythm section, the horns frequently explode with percussive energy. At other times, they evoke electronic sounds, as in the tracks “Open Shore” and “Driftwood.” By turns tough yet tender, uncompromising yet accessible, the music created by these hardcore iconoclasts ultimately manages to be something frequently lacking in free jazz: inspirational and affecting.
I would recommend this to a friend!
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![Heads Or Tails [CD]](https://pisces.bbystatic.com/image2/BestBuy_US/images/products/1875/18751625_sa.jpg)
Customer Rating
4
Exploring the Flip Side
on October 3, 2010
Posted by: dbrierly
from Studio City, CA
This is a rather intriguing release from the French flugelhorn player Alex Tassel. It’s actually a two-disc set—one acoustic, one electric. The difference lies mainly in the rhythm section, with pianist Laurent De Wilde switching from piano to fender rhodes and synths, while double bassist Diego Imbert makes way for electric bassist Daniel Romeo on the plugged-in set. The horn players (Tassel and four saxophonists) and guitarist Christian Brun play acoustically on both discs, so while there’s not a radical contrast in terms of the overall soundscape, the musicians are able to explore and exploit additional sound colors and textures. Contributing to the homogenous feeling is Tassel’s decision to basically use the same set of tracks in both settings. The tunes, all Tassel originals save for one Django Reinhardt number, are agreeable if not particularly memorable, serving mainly to establish a distinct mood and tempo for the soloists. And make no mistake, it’s the solos that give “Heads or Tails” its character, which is perhaps best described as an updated version of Miles Davis’ mid-sixties modal phase. Happily, though, Tassel doesn’t try to imitate Miles. He’s very much his own man, displaying a gorgeous tone, lyrical phrasing and heartfelt emotion, if not a particularly adventurous spirit. The sax players (Rick Margitza, Guillaume Naturel, Jacques Schwarz-Bart, Olivier Temime) provide sympathetic and imaginative support. For my money, the acoustic set works better, as the synth washes on the electric tracks occasionally steer the music towards smooth jazz territory. Although one could perhaps wish for a little more daring and grit at times, the performances are consistently rewarding, and reveal new layers and nuances with repeated listening. If this recording is anything to go by, the jazz scene in France is alive and well. “Heads or Tails” is definitely worth a listen.
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![Provenance [CD]](https://pisces.bbystatic.com/image2/BestBuy_US/images/products/1856/18560834_sa.jpg)
Customer Rating
5
Bridging Past and Present
on September 9, 2010
Posted by: dbrierly
from Studio City, CA
From the opening notes of “Provenance,” it’s impossible not to find oneself transported from mundane reality to a time and place of spiritual calm and rejuvenation. Cellist Maya Beiser, whose career path is as unpredictable as it is artistically rewarding, explores Spain’s centuries-old musical traditions in works by several contemporary composers on this, her latest and most accessible recording. Beiser was raised in Israel, so her interest in Middle Eastern music is no surprise. Several of the composers invited to participate in this project hail from Iran, Israel and Armenia; their compositions tap into ancient musical forms while retaining a distinct contemporary attitude. Each piece leads seamlessly into the next, creating a rich musical tapestry of melody, emotion and drama in which Beiser’s cello is the dominant voice. Her haunting and soulful playing is deftly supported by appropriately minimalist accompaniment: oud, percussion and voice. The disc’s final track, Led Zeppelin’s classic “Kashmir,” might seem an odd inclusion until one realizes that it incorporates classical Moroccan, Indian and Middle Eastern musical motifs. Beiser’s stunning interpretation highlights these elements while also relating the emotion in the song to the tracks that precede it. “Provenance” is yet another triumph for the virtuoso cellist who is helping to redefine the limits and the capabilities of modern classical music. Easily my favorite disc of 2010.
I would recommend this to a friend!
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![The Music of Eddie South [CD]](https://pisces.bbystatic.com/image2/BestBuy_US/images/products/1856/18561218_sa.jpg)
Customer Rating
5
Swingin' the changes
on June 4, 2010
Posted by: dbrierly
from Studio City, CA
The late violinist Eddie South (1904-1962) may not have the name recognition of peers like Stephane Grappelli and Joe Venuti, but the Louisiana-born musician was every bit their equal. South had a gorgeous tone and impeccable phrasing, and could play anything from classical to jazz, but the pervasive racism of the era in which he achieved artistic maturity prevented any hopes of a commercial breakthrough. South was frequently recorded during his lifetime, but sadly, there appear to be only a couple of CD compilations of his work currently in print. Contemporary jazz violinist Jeremy Cohen felt so moved by this neglect that he released this tribute album to help focus attention on South’s legacy. Cohen’s approach was simple: round up a cracking band of like-minded musicians (guitarist Dix Bruce, bassist Jim Kerwin, pianist Larry Dunlop, drummer Harold Jones) and record a wide range of jazz and popular tunes associated with South. Their interpretations respect the spirit of the originals while spotlighting the unique characteristics of Cohen’s own playing. The results are warm, sincere and swinging, and should inspire listeners to seek out recordings of the master himself. This is musical balm for the soul. Apply frequently for best results.
I would recommend this to a friend!
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![Concertos for Saxophone Quartet [CD]](https://pisces.bbystatic.com/image2/BestBuy_US/images/products/1787/17875587_sa.jpg)
Customer Rating
3
Musical mash-ups
on May 16, 2010
Posted by: dbrierly
from Studio City, CA
I’ve never been a big fan of music that attempts to fuse classical music with pop and jazz elements, which is precisely the intent of William Bolcom’s “Concerto Grosso.” I’ve always felt it’s like trying to mix oil and water. Having said that, Bolcom’s four-movement concerto is one of the more successful such works I’ve encountered, and achieves a level of balance and harmonic integrity that will doubtless please fans of crossover classical. In some respects, it sounds like a contemporary interpretation of George Gershwin. I didn’t hate it; I just couldn’t connect to it emotionally. The other work on this disc, Steven Mackey’s “Animal, Vegetable, Mineral,” was a bit more pleasing to my ears. It’s a much more minimalist composition that relies on a dramatic “plunging” theme (the composer’s own word) that appears in various contexts throughout all three movements. Mackey conjures some interesting sounds and textures, at one point evoking bagpipe music, and brings things to an increasingly aggressive climax that borders on industrial noise. It’s not an easy listen by any stretch, but its chilly, hard-edged contours are continually fascinating.
I would recommend this to a friend!
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