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June 2018:

Both Directions At Once documents a lost studio performance by the classic John Coltarne’s lineup (Garrison/Jones/McCoy Tyner), just now released by Impulse! In march 1963, the saxophonist led his quartet in a session whose master tape was lost, but happily his wife Naima conserved a reference tape she finally delivered to the label for this first edition, after 55 years. Two are the originals completely unknown and never-before-heard: Untitled Original 11383 and Untitled Original 11386, with Coltrane on soprano sax. The track One Up, One Down, until now released on bootleg only, was performed as a studio recording for the first and only time. The famous Impressions is instead presented in a piano-less trio. The session also sports the first recording of Nature Boy, later re-recorded very differently in 1965. Deluxe edition features a number of alternative takes.

Float The Edge (Clean Feed, 2017) documents the Angelica Sanchez Trio, a new lineup the pianist created and comprising of bassist Michael Formanek and drummer Tyshawn Sorey. They debuted with a studio session recorded in july 2016, gathering eight pieces collectively composed, plenty of improvisations.

Polydor re-released Springboard, firstly delivered in 1969 and documenting the Jeff Clyne/Ian Carr Quartet, a lineup comprising of the bassist and the trumpetist along with John Stevens (drums) and Trevor Watts (alto sax). The seven pieces (two composed by each of them, but Clyne only one) were recorded in june and august 1966, featuring an album of free jazz.

Jon Hassell’s Listening To Pictures (Pentimento Volume one) (released now by the label Ndeya he recently created) is the new album in 9 years by the trumpetist. The eight pieces were performed by the leader on trumpet, keyboards, synthesisers, percussion, voice, programming, along with Christian Jacob, Christoph Harbonnier and Peter Freeman (all three on bass), Rick Cox (guitar, synth and electronics), Hugh Marsh (violin and electronics), Ralph Cumbers (drum programming), Michel Redolfi (electronics), Eivind Aarset and Kheir Eddine M'Kachiche (samplers). The music comes mostly from old sessions, collaged, edited and overdubbed, inspired by the concept of vertical listening, or “listening to yourself listening,” as Hassell says in the press release. As for “Pentimento”, it’s a painting term, describing hints of earlier work reappearing in newer or updated versions.

The Haunt (NoBusiness, 2018) features the trio of Wadada Leo Smith (trumpet), Bobby Naughton (Vibraharp) and Perry Robinson (clarinet) in five pieces. The label restores this studio release, recorded in april 1976, delivered by Otic and quickly forgotten. An album of pure free jazz, whose re-release features an alternate take.

Journey To Parazzar (Not Two, 2018) documents Joe McPhee (trumpet and tenor sax), John Edwards (double bass) and Klaus Kugel drums) in four studio performances free improvised in september 2017, especially the 29-minute Re-Hairing In Zaporozhye and the 19-minute To Rush At The Wind.

Tender Music (Trost, 2018) documents Joelle Leandre (double bass) and Elisabeth Harnik (piano) in a live april 2016 performance, from which were extracted 51 minutes as a six-movement suite, entitled Ear Area. An Austrian pianist born in 1970, Harnik is on stage since 2004, and recorded above all collaborative albums, with, among others, Dave Rempis and Ken Vandermark.

The 3CD set (accompanied by a 70-page booklet) An Unintended Legacy (Matchless, 2018) credited to AMM, documents three full concerts (december 2015, april and june 2016) performed by John Tilbury (piano), Eddie Prevost (percussion) and Keith Rowe (guitar). Quite totally improvised.

Elliott Sharp’s project Carbon comes back with Transmigration At The Solar Max (Intakt, 2018). The leader, on 8-string guitarbass, soprano sax, electronics, samples & textures, led Zeena Parkins (electric harp) and Bobby Previte (drums) in a live august 2009 jazz festival session, later studio edited. The five lenghty pieces sport a funky electro-acoustic jazz, plenty of drones.

Studio recorded in april 2017, Still Dreaming (Nonesuch, 2018) documents the Joshua Redman’s last album, performed by the reedist on tenor sax, along with Scott Colley (bass), Ron Miles (cornet) and Brian Blade (drums). The eight pieces, among which two covers (Japan edition features an extra bonus by the leader) sport a contemporary jazz, balanced between melodic themes and improvisations.

After their march 2003 collaboration in Dinosaur Dances, the drums duo of Joey Baron and Robyn Schulkowsky repeats that experience with Now You Hear Me (Intakt, 2018). They studio recorded in march 2016 four pieces (notably the 32-minute Passage) balancing between avantagarde and experimental sounds.

Studio recorded in january 2018, Poisonous (ugEXPLODE, 2018) features six lenghty pieces performed by Peter Evans on trumpet and Weasel Walter on drums. The drummer explains some of the ideas/techniques which were utilized on this disc, whose music mixes noises, drones and “metal” sounds. By Walter, the same label also releases Skhiizm, a solo album performed on vocals, guitar, bass, electronics and drums. Composed and recorded between july 2014 and september 2017, its seven pieces (among which the 20-minute The Hangover Heart Attack Variations) feature a mix of electronic, rock, improvisations, noise and no wave.

Awakening (Eclipse, 2018) features Juhani Aaltonen on flute and Raoul Bjorkenheim on 6 & 12 strings guitars & viol da gamba. Finnish reeds player Juhani Aaltonen started his career in 1969, with Finnish progressive rock band Tasavallan Presidentti, and later as member of the UMO Jazz Orchestra. Awakening features six tracks collectively composed and live recorded in november 2016.

Negocito label releases Butterfly Garden, an album by 1000+1, a new project by Eugene Chadbourne, who plays guitar and fretless banjo along with Jan Klare on alto sax & flute, Bart Maris on trumpet, veteran Dutch Wilbert De Joode on bass and Michael Vatcher on drums & percussion. 1000+1 is an extension of 1000, a Dutch quartet formed in 2007 by the other partners of Chadbourne. Recorded in april 2014, it features eight pieces of avant-garde jazz.

Credited to the trio of Denny Zeitlin (piano), Buster William (bass) and Matt Wilson (drums), Wishing On The Moon (Sunnyside, 2018) documents a live concert held in march 2009, from which were extracted eleven tracks, mostly composed by the pianist.

Recorded between december 2017 and january 2018, the 3CD set Voices Fall From The Sky (Centering, 2018) features a large ensemble led by bassist William Parker, with 17 singers and a lot of musicians, among which let’s mention Rob Brown and Dave Sewelson (alto sax), Eri Yamamoto, Yuko Fujiyama and Cooper-Moore (all on piano), Gerald Cleaver (drums), Karen Borca (bassoon), Masahiko Kono (trombone, electronics), Dario Acosta Teich and Angelo Branford (guitars). Half of the material are new, and half are selections of previously released material, either long unavailable or reworked.

Credited to the oud player Gordon Grdina, Ejdeha (Songlines, 2018) also features Mark Helias (bass), Hank Roberts (cello) and Hamin Honari on Persian percussion. The quartet, known as The Marrow, performed seven Grdina's compositions, mostly based on classical Arabic and Persian musical traditions, transformed in a jazz context. Extensively presented by the label and also by the leader.

Head Under Water (FMR, 2018) features Rob Burke and Tony Malaby both on tenor & soprano saxes and Mark Helias on contrabass. Recorded in july 2017, it sports sixteen tracks.

The 2CD set Uncharted Territories (Dare2, 2018) documents the quartet of Dave Holland (bass), Evan Parker (tenor sax), Craig Taborn (piano, organ, keyboards, electronics) and Ches Smith (percussion) in a studio may 2017 session, during which they recorded twenty-three pieces, often broken in trios and duos combinations, mostly improvised.

The 2CD set Interstellar Transmissions (Split Rock, 2018) documents two interesting sessions studio performed, the first (on which each musician improvised alone to NASA recordings from the Voyager spacecraft, the results mixed together over the Voyager track), by Henry Kaiser (18 string harp guitar), Martin Küchen and Jeff Coffin (saxes), Damon Smith (acoustic bass), Tanya Chen (piano), Jordan Muscatello (electric bass), Roger Turner (drums) and Ed Pettersen (guitar); the second (on which three improvisers play together in response to Voyager tracks) by Martin Küchen (sax), Roger Turner (drums) and Ed Pettersen (guitar). Their live improvisations were left alone, with no edits nor overdubs.

FMR restores Detail 83, a studio february 1983 sessions left unreleased by the lineup featuring Frode Gjerstad on alto sax & clarinet, Johnny Mbizo Dyani on contrabass and John Stevens on drums. The disc consists of four long pieces, in pure free jazz.

FMR also delivers two new Paul Dunmall albums. Seascapes features the leader on tenor & soprano saxes, Philip Gibbs on guitar, Neil Metcalfe on flute and Ashley John Long on bass. The six pieces, studio recorded in november 2017, are mostly improvised. Instead, Freedom Music sees Dunmall on tenor sax, along with John O’Gallagher on alto sax, John Edwards on contrabass and Mark Sanders on drums. The three long pieces, in the same musical context, were recorded in january 2018.

The vinyl Hackney Road (Treader, 2018) documents Spring Heel Jack duo of John Coxon (guitars, kalimba, harmonica, piano and samples) and Ashley Wales (samples, loops, electronics) along with Wadada Leo Smith (trumpet), Steve Noble (drums) and Pat Thomas (piano and synthesizer), in a six part suite studio recorded between march and october 2016.

Thumbscrew, the trio project of Mary Halvorson (guitar), Michael Formanek (double bass) and Tomas Fujiwara (drums), comes back after their starting self-titled, with other two CDs, out by Cuneiform. Ours, studio recorded in june 2017, features nine pieces (each of members composed three tracks), whereas Theirs, recorded the same month, collects ten pieces, as reworkings of famous musicians (Benny Golson, Wayne Shorter, Herbie Nichols, Stanley Cowell, Misha Mengelberg, etc.).

In A Convex Mirror (Tzadik, 2018) features the latest John Zorn’s album, on which he plays alto sax and Fender Rrhodes piano, along with Ikue Mori (electronics) and Ches Smith (Haitian tanbou, bell and cymbals). The three pieces recorded sport a “voodoo music” counterpointed by electronic soundscapes and improvisations.


May 2018:

PI just released two new Henry Threadgill albums. The first, Double Up, Plays Double Up Plus, was already premiered in december 2015, and collects five tracks (notably the 23-minute Game Is Up) performed with the Double Up Ensemble (that already released Old Locks And Irregular Verbs), by the leader on sax, Roman Filiu (alto flute and alto sax), Curtis Macdonald (alto sax), Christopher Hoffman (cello), Craig Weinrib (percussion), David Bryant and Luis Perdomo (both on piano), David Virelles (piano and harmonium) and Jose Davila (tuba). The second, Dirt... And More Dirt, documents his "14 or 15 Kestra: Agg", featuring two long suites: the six-part Dirt (34 minutes), and the four-part And More Dirt (12 minutes). The lineup is comprising of the leader on alto sax and flutes, Chris Hoffman (cello), Liberty Ellman (guitar), Jose Davila (tuba), Ben Gerstein and Jacob Garchik (trombone), Jonathan Finlayson and Stephanie Richards (trumpet), Curtis Robert Macdonald (alto sax), Roman Filiu (alto sax, alto flute), David Bryant and David Virelles (piano), Thomas Morgan (bass) and Craig Weinrib (drums, percussion). Both these albums were recorded in september 2017, although in different sessions.

Life Of (ECM, 2018) is the new Steve Tibbetts album in ten years, after Natural Causes (released in 2010, but recorded in 2008). Extensively presented by the musician in a press page, after several years in the making, it features thirteen pieces (all brief, but the 9-minute Start Again) composed and performed on guitar and piano by the leader, along with Michelle Kinney on cello and electronics and Marc Anderson on percussion.

Angel Dusk (Screwgun, 2018) documents the duo of Matt Mitchell (piano) and Tim Berne (alto sax) in a studio november 2017 session, during which they recorded eight new pieces, basically improvised. Mitchell, let's remember, already worked in Berne's project Snakeoil.

Another similar duo is Ken Vandermark (reeds) and Canadian visual and sound artist Michael Snow (piano), who recorded in june 2015 Duol, a studio session now out for Corbett vs Dempsey, collecting three improvisations.

Timeless , another duo studio session (october 2017) by the same label, documents instead Mats Gustafsson (alto, tenor and baritone saxes) and Jason Adasiewicz (vibraphone and balafon), who started from themes composed and developped in a static and melodic approach, as documented for instance in the title-track, dedicated to the recently disappeared John Abercrombie.

Clean Feed delivers Trio Exaltation, a new studio album by Marty Ehrlich, recorded in april 2017. The reedist, on alto sax, clarinets and wooden flutes, led bassist John hebert and drummer Nasheet Waits in ten pieces of pure free jazz (among which an Andrew Hill's cover).

Again by Corbett vs Dempsey, Bow Hard At The Frog features Fred Lonberg Holm (cello) and Gustavo Matamoros (field recording). The two, also with the "concrete" noise background of amphibians of the Everglades, passing cars, water noises, mosquitoes, performed six compositions recorded in january and february 2016 at the Everglades, the label presents as outdoor interspecies improvisations.

Seymour Reads The Constitution! (Nonesuch, 2018) documents the Brad Mehldau Trio in a studio session recorded in an unspecified date by the leader on piano, Larry Grenadier on bass and Jeff Ballard on drums. The eight pieces feature four originals by Mehladu and four reworked covers. Japan editoin, though, sports another tracks composed by the pianist.

Rhapsody (Rare Noise, 2018) documents the latest Bobby Previte's work, performed with a notable lineup. Studio recorded in april 2017, the album sees the drummer (who composed all the nine pieces) playing also percussion, autoharp, guitar, and harmonica, accompanied by Nels Cline (acoustic, slide and 12-string guitars), Fabian Rucker (alto sax), Zeena Parkins (harp), John Medeski (piano) and vocalist Jen Shyu (on piano too).

The last Corbett vs Dempsey album of this month is a re-release: the forgotten A Well Kept Secret was firstly released by Shemp in 1984, and documents the drummer Beaver Harris and pianist Don Pullen in their notable 360 Degree Music Experience project, also featuring Hamiet Bluiett (baritone sax), Ricky Ford (tenor sax), Buster Williams (bass), Francis Haynes (steel drums), Candido (percussion), and the french horn quartet of Sharon Freeman, Willie Ruff, Bill Warnick and Greg Williams. Recorded at a date in 1980, the album is the final issue of the project; its five pieces (notably the 17:30-minute Goree) document a mix of jazz, folk and world music. The project by Harris and Pullen, let's remember, was born in 1974, when the two decided to found the namesake label, gathering a lineup to perform just music at 360 degrees, mixing various musical contexts. The sessionography: From Rag Time To No Time (recorded between december 1974 and february 1975), on which also played Ron Carter, Cecil McBee, Jimmy Garrison and pianist Dave Burrell, among others; the DoLP In:Sanity (march 1976), with the new entry of Hamiet Bluiett, that featured a more free-oriented jazz, notably the 21:30-minute Open; Beautiful Africa (june 1979), five pieces performed with Ken McIntyre on alto sax, bassoon and flute; the four pieces of Safe (same session and same lineup); the live At Nyon (june 1979), that presented two 19-minute tracks by McIntyre, and basically free; Negcaumongus (december 1979), featuring the namesake two-sided suite.

Discus delivers two new albums by Martin Archer. Safety Signal From A Target Town is the third disc credited to his project Engine Room Favourites. Composed at the end of 2016 and studio recorded in march 2017, it features the leader on saxes along with Mick Beck (tenor sax and bassoon), Seth Bennett (bass), Graham Clark (violin), Laura Cole (piano), Steve Dinsdale and Walt Shaw (both on percussion), Peter Fairclough and Johnny Hunter (both on drums), Kim Macari (trumpet), George Murray (trombone), Corey Mwamba (vibraphone) and Riley Stone Lonergan (tenor sax and clarinet). The five pieces (three of them near to 20 minutes) sport an eclectic approach, balancing with progressive rock, free jazz and folk, with a compromise between melodic themes and improvisations, always influenced, as states Archer, by AACM music. Instead, The Sincerity Of Light is also cocredited to Chris Meloche (guitar, electronics), Gino Robair (percussion, electronics) and Lyn Hodnett (voice) . Archer, on woodwind and electronics, composed a three-part 50-minute suite plenty of minimalisms, loops, drones and soundscapes.

More Fun, Please! (PNL, 2018) Documents the Paal Nilssen-Love new project Extra Large Unit, a large ensemble conducted by Tommi Keranen (also on electroncis), and comprising of three accordions, four basses, alto sax, two cellos, two drummers, euphonium, flute, french horn, guitar, three pianos, tenor sax, two trombones, trumpet, violin and two tubas. Recorded live in may 2017, the CD features the namesake 33-minute piece Nilssen-Love organized, composed and rehearsed for the concert. Still by Nilssen-Love, the self-produced Levontin 7 documents a march 2015 performance co-produced along with Peter Broetzmann, an untitled 44-minute composition poorly presented by the credits.

The trio of Agusti Fernandez (piano), Barry Guy (bass) and Norwegian Torben Snekkestad (sax and trumpet) presents Louisiana Variations (FSR, 2018), documenting a six-part 50-minute suite live recorded in july 2017. The performance starts with quiet and spaced sounds, slowly becoming more and more complicated and intense.

By the same label, Of Echoing Bronze features the same Norwegian reedist Snekkestad along with Nate Wooley on trumpet. Recorded live in july 2015, the three pieces collected (two of them are 20-minute long) document a slow approach, plenty of pauses and silences, although quite totally improvised.

The 14-part Futura Spartan Suite (Chap Chap, 2018) is credited to the trio of Guillermo Gregorio (clarinet), Nicolas Letman-Burtinovic (contrabass & effects) and Todd Capp (drums).

The until now unissued Carnegie Hall '71 (Hi Hat, 2018) documents a live february 1971 concert performed by Alice Coltrane (piano and harp), Pharoah Sanders and Archie Shepp (both on saxes and flute), Jimmy Garrison (bass), Kumar Kramer (harmonium), Cecil McBee (bass), Clifford Jarvis and Ed Blackwell (drums). Among the pieces, a 29-minute version of Africa.

By the same label, Bremen '66 documents Paul Bley Trio in another unissued live performance (september 1966). The leader pianist led Mark Levinson (bass) and Barry Altschul (drums) in five long reworkings by him and his wife Carla.

The L & H album Desert is the new album of Yelena Eckemoff (piano & compositions), recorded in december 2015 with Paul McCandless (oboe, English horn, soprano sax and bass clarinet), Arild Andersen (double bass) and Peter Erskine (drums, percussion). The eleven pieces of this album are plenty of arabian influences.

Are There? (Mulatta, 2017) collects ten pieces performed by Robert Dick on piccolo, alto & bass flutes & flute with glissando headjoint (a new instrument created by Dick and presented here) and German Ulrike Lentz on piccolo, flutes & flute-tubes.

The vinyl Whatever Will Happen That Will Also Be (No Business, 2018) documents drummer and composer Harris Eisenstadt in a four movement suite performed by the Mivos String Quartet; recorded in september 2015, the suite sports melodic and textural Eisenstandt's works. The leader, however, doesn't play. By the same label and composer, the vinyl Woodblock Prints, restored after the first 2010 release, documents the drummer with his nonet (acoustic bass, alto sax, bassoon, clarinet, electric guitar, French Horn, trombone and tuba) in a studio january 2010 session, mostly free improvised, inspired, as title suggests, by Japanese woodblock prints.

Recorded live in april 2017, Seraphic Light (Aum Fidelity, 2018) features a 45-minute collective improvisation between Daniel Carter (saxes, trumpet, flute and clarinet), William Parker (bass) and Matthew Shipp (piano).


Lake Of Light: Compositions For AquaSonics (Gotta Let It Out, 2018) was composed by William Parker and recorded by the same in february 2017 along with Jeff Schlanger, Anne Humanfeld and Leonid Galaganov, all on waterphones. The music (seven pieces, among which the 17-minute title-track) features a "magic" atmosphere, suggesting mysterious sounds by the nature.

Two new albums by Satoko Fujii (she promised this year an album every month). Her trio This is It! features the leader on piano & compositions, her husband Natsuki Tamura on trumpet and Takashi Itani on drums. 1538 (Libra, 2018), their first album, was recorded in january 2018, featuring six new pieces. Instead, Triad (Long Song, 2018) features the leader on piano, Joe Fonda on contrabass & flute and Gianni Mimmo on soprano sax. Recorded in a one-day studio session of october 2017, the album sports five picees, among which the 42-minute Birthday Girl , totally improvised.

Mats Gustafsson' The Thing comes back with the CD/LP Again (Trost, 2018). The leader saxophonist, on baritone and tenor, the drummer Paal Nilssen-Love and the bassist Ingebrigt Haker Flaten studio recorded in july 2017 three long pieces, as always with large improvisations.

Geometry Of Caves (Relative Pitch, 2018) features Tomeka Reid on cello, Joe Morris on guitar, Kyoko Kitamura on voice and Taylor Ho Bynum on cornet, piccolo and bass trumpets. Studio recorded in december 2016, this album gathers seven tracks of free improvisation.

After the "solo" Dahl?-?Tah?-?Ghi (Pica, 2018), documenting the 42-minute namesake suite studio recorded in june 2013, Okkyung Lee comes back with Cheol-Kkot-Sae, released now by Tzadik after having been commissioned by a German Festival and live recorded in october 2016. Lee played her cello along with John Butcher (saxes), Jae-Hyo Chang (korean traditional percussion), John Edwards (bass), Song-Hee Kwon (pansori singing), Lasse Marhaug (electronics) and ches smith (percussion and vibes). The namesake suite (38 minutes) combines electronics, improvisation, melodies and noise with Korean traditional music. The album is completed by another piece (6 minutes).

Norbert M”slang (cracked everyday-electronics), Jason Kahn (analog synthesizer, radio) and Guenter Muller (ipods, electronics), who formed in 2006 th MKM Trio, come back with Teplo_Dom, their sixth album out now for Mikroton after having been studio recorded in september 2017. The three pieces (among which the 27-minute Teplo) feature an abstract sound, with complicated and improvised drones.


April 2018:

US pianist Cecil Taylor, one of the fathers of free jazz (also a poet), died at his home in Brooklyn on april 5, at the age of 89.

Studio recorded in january 2001, but released only now by Relative Pitch, All In All In All documents an album credited to percussionist Mark Nauseef. Also on electronics, he led a notable ensemble: Arthur Jarvinen (glockenspiel, chromatic harmonica, analogue electronics), Sylvie Courvoisier (piano, prepared piano), Tony Oxley (percussion), Pat Thomas (cassette player, electronics, electric keyboard), Miroslav Tadic (guitars), Walter Quintus (real time processing, conducting) and Bill Laswell (bass, field recordings, electronics). The eleven pieces performed sport a large variety of styles: rock, jazz, gamelan, avant-garde and world music.

Clifford Thornton Memorial Quartet is a project comprising of Joe McPhee (tenor sax and valve trombone), Daunik Lazro (baritone and tenor saxes), Jean-Marc Foussat (analogue synthesizer and voice) and Makoto Sato (drums). Not Two releases now their first album, Sweet Oranges, live recorded in july 2017 and featuring the 44-minute title-track, free improvised.

The vinyl Currents, Constellations (Blue Note, 2018) documents The Nels Cline 4, a new project by the guitarist, who led bassist Scott Colley, drummer Tom Rainey and the other guitarist Julian Lage in eight studio pieces recorded in may 2017, all written by Clien but a Carla Bley's cover. The music is a compromise between jazz, blues and rock.

Spectral, the trio created by Dave Rempis (alto and baritone saxes), Darren Johnston (trumpet) and Larry Ochs (sopranino and tenor saxes), after having debuted in may 2012 with their self-titled CD, comes back with Empty Castles (Aerophonic, 2018), another studio experience recorded in june 2017. The approach of these new eight tracks is, as the previous session, a free improvisation. However, the trio recorded before (may 2015) another performance, Neutral Nation, two long pieces (29 and 21 minutes) extracted from a concert. But this album, until now, is available only digitally, always by Aerophonic. The label, furthermore, delivers another Rempis' album, the 2CD set Dodecahedron, co-credited to "Tim Daisy & Guests", i.e. the drummer along with Jason Adasiewicz (vibes), Jim Baker (piano, electronics), Fred Lonberg Holm (cello), Steve Swell (trombone), Katie Young (bassoon, electronics) and Aaron Zarzutzki (electronics). Rempis and Daisy play together since 20 years. The first CD, live recorded in october 2017, documents the 28-minute Eikosi; the second CD was studio recorded in august and september 2017, collecting nine pieces with a massive use of electronics.

The vinyl Interweaving (Not Two, 2018) documents a studio album recorded in july 2016, comprising of five tracks performed by Alexander von Schlippenbach (grand piano) and Dag Magnus Narvesen (drums).

Scandal (Greenleaf, 2018) documents the second release by Sound Prints, a lineup founded in 2013 by Joe Lovano (saxes) and Dave Douglas (trumpet), also featuring Lawrence Fields (piano), Linda May Han Oh (bass) and Joey Baron (drums). After having debuted with a Blue Note self-titled, recorded live at Monterey Jazz festival in september 2013, the quintet comes to the first studio album, eleven pieces (five by Douglas, four by Lovano plus two Wayne Shorter reworkings) recorded in september 2017 presented here by the label. Both these albums were inspired by the music of Shorter.

Bright Force (Libra, 2018) documents Kira Kira, a new Satoko Fujii project documenting the pianist along with trumpetist Natsuki Tamura, Alister Spence on Fender Rhodes electric piano, pedals & preparations, and Ittetsu Takemura on drums. The three pieces, among which the 35-minute suite Luna Lionfish, were recorded in september 2017. In the meantime, the label Bakamo restores Maru, an album originally released in 2006 and documenting Orchestra Nagoya, another Fujii's project created in 2003 by the pianist featuring an all-japan acoustic lineup: bass, drums, guitar, six saxes, two trombones, five trumpet and tuba. The ensembel debuted with Nagoyanian, five pieces recorded in two sessions (may 2003 and march 2004). Maru, with the same lineup, documented six pieces (notably the 16-minute Sakuradori Sen) recorded in march 2006. Third and until now latest album is Sanrei, seven pieces live recorded in september 2007. The sound of these album is a mixing of jazz-rock, with many improvisations, and Fujii just conducts, but doesn't play.

The ltd ed. vinyl Ouroboros (Astral Spirits, 2018), by Peter Brotzmann (reeds) and Fred Lonberg Holm (strings, electronics), is their second collaboration after the november 2007 The Brain Of The Dog In Section. Recorded in january 2011, but out only now, it features four lenghty pieces, starting from cerebral themes and rare melodies, quickly evolved in improvised violent drones.

Recorded between april and july 2016, Comment C'est/How It Is (ECM, 2018) features ten pieces composed by Michael Mantler (trumpet) with the Max Brand Ensemble, a lineup directed by Richard Graf and comprising of bass, two clarinets, cello, two pianos, flute, French horn, oboe, tuba, vibraphone, viola, violin and the vocalist Himiko Paganotti. The music mixes contemporary jazz along with classical.

God Is More Than Love Can Ever Be (Cosmic Myth, 2018) is the re-release of Days Of Happiness, an El Saturn album by Sun Ra Trio studio recorded in july 1979 and documenting the leader on piano along with drummer Samarai Celestial (aka Eric Walker) and bassist Hayes Burnett. Sun Ra composed five pieces performed in pure free jazz, never released until now. But it's also worthing to mention two important Sun Ra's re-releases: Modern Harmonic restores Astro Black, originally delivered by Impulse! in 1973. Recorded in may 1972, the vinyl also documents the 11-minute title-track and a 18-minute suite, performed by the leader on various keyboards along with Danny Davis, Marshall Allen, Danny Thompson, John Gilmore, etc. Instead, the 2CD set The Cymbals/Symbols Sessions: New York City 1973 (always by Modern Harmonic) gathers the first legal version of Cymbals, already unofficially delivered in 2000 by Troglosound and documenting a 1973 session planned for an Impulse! release: the leader was always on keyboards along with a septet (notably the 16-minute Thoughts Under A Dark Blue Light). The second disc documents unreleased material by the same lineup.

Switzerland composer and pianist Sylvie Courvoisier (1968), New-York based since 1998 and married with violinist Mark Feldman, started her career in early 1994, performing several live experiences. For her "Quintetto", along with Guglielmo Pagnozzi (saxes), Lauro Rossi (trombone), Baenz Oester (bass) and Pascal Portner (drums), she wrote eight pieces live recorded in march 1994 on Sauvagerie Courtoise; paired on piano and clavier with Swiss pianist Jacques Demierre and his project TST, she recorded Le Tout Sur Le Tout, her first studio album (april 1995); Una Mora (november 1995) is another studio album, recorded with the Michel Godard Quartet (the leader on tuba, and the rhythm section of Tony Overwater and Mark Nauseef). Birds Of A Feather (june 1996) was written and performed along with Mark Nauseef (she on piano and prepared piano and Nauseef on percussion and electronics), as a work of massive improvisations conceived as a suite. The same month she began the collaboration along with her husband: that session, and another in december 1998, were gathered on Music For Violin And Piano. The august 1996 Ocre is her first all-credited album, performed with Nauseef, Pierre Charial (barrel organ), Michel Godard (tuba, serpent) and Tony Overwater (bass). This album mixes jazz, classical and also a bit of rock. The same lineup returned in march 1999 with the nine pieces of Y2K. Deux Pianos (february 1999), documents, as title suggests, a work along pianist Jacques Demierre, twenty pieces almost brief and free improvised. Passaggio (april 2001) is a trio along with Joelle Leandre (bass) and Susie Ibarra (drums), who recorded twelve pieces quite totally improvised. Mephista is her project created along with Susie Ibarra and Ikue Mori (electronics). They recorded two albums: Black Narcissus (november 2001), nine pieces that combines abstract jazz with electronics, and Entomological Reflections (november 2003), other fifteen pieces that continue the same experimental approach. After having collaborated to John Zorn's Cobra Volume Two (january 2002), she recorded her first album for ECM, the 2CD set Abaton (september 2002), a trio along with her husband Mark Feldman on violin and Eric Friedlander on cello (notably the 20-minute Ianicum). Albert (august 2005) marked another experimental recording, along with Nauseef Mori. Lonelyville (april 2006) also mixed classical and avant-garde (particularly the 22-minute Texturologie) in a notable lineup: Feldman (violin), Mori (electronics), Gerald Cleaver (drums) and French celloist Vincent Courtois. Signs And Epigrams (Tzadik, 2007), recorded in december 2006, is her first piano solo, a very atypical work whose intent, as she describes, "is to make it sound as though the piano has become an orchestra unto itself". The ten pieces are a sort of "study" on the piano sound possibilities, switching from moments of avant-garde to atonal, from quite non-music to pizzicatos and glissandos. To the same month dates back Alien Huddle, a free experience along with Ikue Mori and Lotte Anker (various saxes). As Soon As Possible (september 2007) was a totally free experience along with Ellery Eskeline (sax) and again Courtois. Eskeline and Courvoisier came back with Every So Often (september 2008), nine pieces free improvised. Oblivia (september 2009) documents a duet piano-violin with Feldman, eleven pieces composed together, a mixing of classical and jazz. Previously, the two recorded in july 2009 the seven pieces of To Fly To Steal, along with Thomas Morgan (bass) and Gerry Hemingway (drums), more jazz-oriented. The same quartet came back with Hotel Du Nord (january 2011). On Birdies For Lulu (november 2013) the rhythm section was replaced by Scott Colley (bass) and Billy Mintz (drums). Credited as leader, Double Windsor (january 2014) was a trio along with Kenny Wollesen (drums) and Drew Gress (bass), nine tracks of avant-garde jazz. Miller's Tale (september 2015) was a notable quartet with Feldman, Ikue Mori (electronics) and Evan Parker (saxes), nine pieces mostly improvised. D'Agala (june 2017) is her latest album as leader, the same trio of Double Windsor in other nine pieces dedicated to recently disappeared famous musicians. Also numerous her collaborations, above all in several John Zorn's projects, but also Nate Wooley, Ikue Mori, etc.

Credited to Ken Vandermark and Nate Wooley, The 2CD set Momentum 2: Brullt/Momentum 3: Monster Roster (Audiographic, 2018) is the follow-up to the 6CD boxset Momentum 1: Stone, that was recorded in january 2016. The new performance features two sets (respectively recorded in april and in august 2016). Momentum 2: Brult features a ten-part suite performed by Nate Wooley on trumpet, C. Spencer Yeh on violin & electronics, Jasper Stadhouders on bass and guitar, Christof Kurzmann on ppooll (loops vis synth or sampler), Vandermark on reeds and Tim Daisy on drums. Momentum 3: Monster Roster features a two-part suite along with Ken Vandermark and Mars Williams on reeds, Lou Mallozzi on turntables, Nick Macri on acoustic bass and Tim Barnes on drums. Both discs start from written sections quickly improvised. To Vandermark is also co-credited Wired For Sound (Audiographic, 2018), a studio album recorded in september 2017 and also featuring Andrew Clinkman & Steve Marquette on guitars, Macie Stewart on keyboard & violin and Phil Sudderberg on drums. The three long pieces here are extensively presented by the label.

Insurrection (Tzadik, 2018) documents a new instrumental John Zorn project featuring guitarists Julian Lage and Matt Hollenberg with the rhythm section of Trevor Dunn and Kenny Grohowski. The ten pieces combines rock, funk, blues, jazz and classical. Recorded in december 2017.

Crescent Moon Waning (American Clave, 2017) is the latest Kip Hanrahan's work. Many years in the making, it features the leader on percussion accompanied by Robbie Ameen (trap drums and percussion) Milton Cardona and Lusito Quintero (congas), Fernando Saunders (bass and vocals), Michael Chambers (guitar) Brandon Ross (guitar and vocals), Charles Neville (the Neville Brothers' reedist, just died on april 26), Craig Handy and Chico Freeman all guest on sax, Steve Swallow and Jack Bruce (who obviously recorded many years ago his parts) on electric bass, Jennifer Hernandez, Roberto Poveda and Lucia Ameen (singers). The album collects twenty brief pieces, mixing afro-cuban and avant-garde jazz.

Meredith Monk premiered in march 2018 Cellular Songs, her latest work commissioned by Brooklyn Academy of Music and performed by her Vocal Ensemble. The six performers sing, move, dance, lie on the floor and play the piano together, but a "solo" by Meredith. No infos until now about a disc release for these 75 minutes.


March 2018:

Ride The Wind (Nessa, 2018) features a collaboration between Roscoe Mitchell and the Montreal-Toronto Art Orchestra, an ensemble of 6 woodwinds, piano, vibraphone, tuba, 2 each of trumpet, trombone, viola, string bass and drums, conducted by Gregory Oh. Among them, the most known are Jean Derome (woodwinds) and Craig Pedersen (trumpets). The ensemble studio recorded the seven pieces in october 2016.

After the november 2006 40 Years, Alexander Von Schlippenbach's Globe Unity Orchestra comes back with... 50 Years, juste recorded ten years after, in november 2016 at Jazzfest Berlin. The pianist led his ensemble (currently a 14-reeds lineup plus two drummers: Evan Parker, Rudi Mahall, Axel D”rner, Manfred Schoof, Jean-Luc Cappozzo, Tomasz Stanko, Paul Lovens, Paul Lytton, etc.). The namesake performance is 44-minute long.

A Day Hanging Dead Between Heaven And Earth (Klanggalerie, 2018) documents a collaboration between Fred Frith (here on piano, violin, guitar and vocals) and Residents' Hardy Fox. After Frith's first solo albums for Residents' label Ralph, the two decided to record an album together. But, after the 1991 recording session, when they created few tunes, the project was shelved, and then rediscovered in september 2017, when they added piano and voice parts. The fourteen pieces here collected are quiet brief.

Live recorded in a theather in september 2017, Undercurrent (Intuition, 2018) featuring Christy Doran trio, on which the guitarist led the Swiss Lukas Mantel (electric bass) and the Argentinean Franco Fontanarrosa (drums) in a concert from which were extracted seven pieces, collectively composed.

Bop Stop (Clean Feed, 2018) documents the Frode Gjerstad Trio accompanied by Steve Swell in a live september 2017 concert. The leader on alto sax, Jon Rune Strom on double bass, Paal Nilssen-Love on drums and Swell on trombone performed four pieces (notably the 18-minute title-track) in a collective free jazz.

Met restores Spirits, an album firstly released in 2000 and documenting a summer 1998 concert with Pharoah Sanders (flute, sax, percussion and vocals), Hamid Drake (drums) and Adam Rudolph (flute, piano and percussion). The ten pieces act as a suite in three basic parts, sporting a multi-ethnic approach, as documented in liner notes.

Mary Halvorson expanded her trio (along with drummer Tomas Fujiwara and bassist Michael Formanek) with Ambrose Akinmusire (trumpet) and Amirtha Kidambi (voice) to release Code Girl (Firehouse 12, 2018), a 2CD set collecting fourteen tracks studio recorded in december 2016 she presents here.

Raise The River (Rogue Art, 2018) features Robert Dick on flute with glissando head joint and the Bay Area raised Tiffany Chang on drums & thumb piano. The two composed together nine pieces studio recorded in february 2015, featuring an avant-garde free jazz.

Vista (Meta, 2018), documents Sam Rivers on tenor & soprano saxes & flute, Adam Rudolph on hand drums & percussion and Harris Eisenstadt on drumset. Recorded in september 2003, the album gathers seven studio pieces, with many improvisations. Rivers, let's remember, died in december 2011.

Restored now by Gazell and already released in 1975 by Sonet, The Bop Session documents a studio two-days may 1975 session gathering the stellar cast of Dizzy Gillespie (trumpet) Sonny Stitt (alto and tenor saxes), John Lewis and Hank Jones (piano), Percy Heath (bass) and Max Roach (drums). They reworked six classic bop standards, among which two by Gillespie (Blues 'n Boogie and Groovin' High), plus Charlie Parker's Confirmation and Tadd Dameron's Lady Bird.

The vinyl Sun Embassy (Roaratorio, 2018) documents unreleased studio performances by Sun Ra Astro-Ihnfinity Arkestra, collecting recordings dating back to 1968-1969, the album features nine tracks, among which the 16-minute Thoughts Under A Dark Blue Light and the 20-minute Sunrise In The Western Sky.

The 2CD set Trajectory (Nine Winds, 2018) features the Vinny Golia sextet, with the leader on sopranino, soprano, tenor & baritone saxes, flutes, clarinets & ethnic percussion; Gavin Templeton on alto sax; Daniel Rosenboom on trumpet & flugel; Alexander Noice on electric guitar & pedals; Miller Wren on basses; Andrew Lessman on drums. The session, recorded at a date in 2017, features sixteen pieces written over ten years, mixing of jazz/rock and experimental, with several solos.

The duets of We Call All Times Soon (Split Rock, 2018) feature Henry Kaiser and Ed Pettersen on guitars, respectively a 18 string harp guitar and an 8 string Weissenborn. Recorded with no overdubs and no edits, ity collects four pieces all 10-minute long, with many improvisations.

Inexplicable Hours (Sonoris, 2018) collects seven tracks composed and recorded between 2014-2017 by Kevin Drumm. The material sports electroacoustic experimentations, audio generators, field recordings, and various electronic devices, plenty of ambient music and drones.

In Transverse Time (Victo, 2018) documents the Rova Saxophone Quartet (Bruce Ackley on soprano, Steve Adams on alto and sopranino, Jon Raskin on baritone and Larry Ochs on tenor) who composed between 2013 and 2017 The Dark Forest, a nine part suite studio recorded between september and november 2017. Another notable pieces on this album is the 24-minute Hidden in Ochre.

The four tracks of Intervivos (Empty, 2018) were recorded on alto sax by Jean-Luc Guionnet along with microphone and feedback player Daichi Yoshikawa. The album presents very experimental structures and layers, feedbacks, drones and sounds of metallic percussion.

Co-commissioned in 2015 by Carnegie Hall, Wigmore Hall and organizations in Canada, Switzerland, and Ireland, Brad Mehldau's solo piano After Bach (Nonesuch, 2018) consists of performances of four preludes and one fugue from J.S. Bach's Well-Tempered Clavier, each followed by an "After Bach" interpretation by Mehldau. The album originated in a commissioned work that Mehldau first performed in 2015 and then recorded in april 2017 for the CD release.

OKeh presents here Music Is, the new Bill Frisell solo album, on which the guitarist plays electric & acoustic guitars, loops, bass, ukelele and music boxes in fifteen pieces, some brand new, others as reworkings of his own. Studio recorded in august 2017.

The five pieces of Ninety-Nine Years (Libra, 2018) document Satoko Fujii Orchestra Berlin in their second album. The pianist led Matthias Schubert and Gebhard Ullmann (both on tenor sax), Paulina Owczarek (baritone sax), Natsuki Tamura, Richard Koch and Lina Allemano (all on trumpet), Matthias Mller (trombone), Kazuhisa Uchihashi (guitar), Jan Roder (bass), Michael Griener and Peter Orins (both on drums). Recorded in april 2017.

Recorded in november 1998 but only now released by ECM, the 2CD set After The Fall documents Keith Jarrett (piano), Gary Peacock (double bass) and Jack DeJohnette (drums) in a live performance collecting twelve pieces among which reworkings of classics of the Great American Songbook including the 16-minute of The Masquerade Is Over, the 13-minute of Autumn Leaves, When I Fall In Love and I'll See You Again, plus free reinterpretations of Charlie Parker's Scrapple From The Apple, Bud Powell's Bouncin' With Bud, John Coltrane's Moment's Notice and Sonny Rollins's Doxy.

The Unknowable (Rare Noise, 2018) features Dave Liebman on tenor & soprano saxes, C flute, native american flute, recorder, piri & Fender Rhodes, plus Tatsuya Nakatani on drum kit, gongs & percussion and Adam Rudolph on hand drumset, thumb piano, assorted ethnic percussion & processing. Studio recorded in july 2016, it documents thirteen brief pieces collectively composed, starting from world music themes evolved in improvisations.

Live recorded in august 2000, the 2CD set Klinker (Confront, 2018) documents guitarist Derek Bailey in a quartet along with Simon H. Fell (double bass), Will Gaines (tap dance) and Mark Wastell (violoncello). The album is extensively presented by Simon H. Fell.

Italian label New Tone restores Real Time Two, already released by Ictus in 1998 and documenting two 21 and 22-minute improvisations extracted by a december 1977 concert performed by Andrea Centazzo (percussion), Evan Parker (tenor and soprano saxes) and Alvin Curran (piano, trumpet and synthesizer). The album is so entitled as a follow-up of another live session from the same concert, issued as Real Time by Ictus, collecting other four improvisation by the trio (particularly the 20-minute title-track).

Treader restores Brooklyn Duos, already released in 2007 as a collaboration between John Coxon (harmonica, 12 atring acoustic and electric guitar) and Wadada Leo Smith (trumpet). The seven pieces were studio recorded in december 2005.


February 2018:

Nothing In Stone (FMR, 2017) documents a trio led by Paul Dunmall (tenor, alto and soprano saxes) along with Percy Pursglove (bass and trumpet) and Tony Orrell (drums). They recorded in september 2017 three long pieces (notably the 38-minute Blue India), with many solos and improvisations. By the same label, Sign Of The Times features again Paul Dunmall with Frank Paul Schubert (both on various saxes), accompanied by the rhytm section of Sebastiano Dessanay (bass) and Jim Bashford (drums). The quartet recorded in october 2017 other three long tracks (among which the 32-minute title-track). Always mostly improvised.

The 3CD set Oneness (Leo, 2018) features a five-days studio session between Ivo Perelman and Matthew Shipp. The reedist and the pianist decided to put on disc the all of sessions: "The idea was to get just one CD, the best of the very best; but when we listened back to the recordings, we can't choose. So, we have to release these three CDs". Recorded in september 2017. And ESP just released two Matthew Shipp new albums. Zer0 (with a zero number, not the vocal) is a piano solo recorded in may 2017, collecting 11 pieces starting from themes written, and quickly improvised. Sonic Fiction, instead, was performed with his quartet: Mat Walerian (alto sax and clarinets), Michael Bisio (bass) and Whit Dickey (drums). The ten pieces feature melodic solos, bebop and improvisations. Recorded in december 2015.

Moons Of Saturn (Dimensional, 2017) features Frode Gjerstad on alto sax, clarinet & flute, Itzam Cano on bass and Gabriel Lauber on drums. Recorded in may 2017, the album collects ten pieces.

The trio o f Evan Parker (sax), Barry Guy (bass) and Paul Lytton (drums) started a long collaboration since 1980 recording the vinyl Tracks, and is still alive now with Music For David Mossman (Intakt, 2018), live recorded in july 2016 at Vortex Jazz Club in London (whose founder is just David Mossman) and featuring four long performances (notably the 24-minute III improvisation).

The three long untitled pieces on the self-released Idiomatic feature almost 80 minutes of studio improvised music by Sandy Ewen (guitar) and Weasel Walter (drums & live electronics). Sandy Ewen, on stage since 2004, plays effects pedals and a prepared guitar with ordinary objects. Recorded in september 2017.

Recorded in two sessions (january and december 1958), firstly released in 1964 by Prestige, and now restored by Italian label Wax Love, The Believer documents three studio recordings by John Coltrane. The tenorist led Red Garland (piano), Paul Chambers (bass), three different drummers (Arthur Taylor, Larry Ritchie and Louis Hayes) and trumpetists Donald Byrd and Freddie Hubbard, performing three pieces: the 14-minute title track, originally composed by McCoy Tyner, the 11-minute Nakatini Serenade, composed by veteran trumpeter Cal Massey (who recorded in january 1961 Blues To Coltrane), and the 5-minute Do I Love You Because You're Beautiful? (from Richard Rodgers and Oscar Hammerstein II's Cinderella). The re-release adds other two studio recordings: the 7-minute Filidia, composed by Ray Draper, and the 7-minute reworking of Sonny Rollins' Paul's Pal. These bonus tracks see Draper on tuba and Gil Coggins on piano, and were recorded before (december 1957).

Mats Gustafsson's Fire! comes back with The Hands (Rune Grammofon, 2018), on which the reedist, on various saxes and electronics, leads drummer Andreas Werlin and bassist Johan Berthling in seven new pieces, featuring a compromise between heavy rock and jazz improvisations. Recorded in may 2017.

Premiered in may 2015 at the opening of the Festival International de Musique Actuelle de Victoriaville (FIMAV) and then presented in a march 2017 concert, the solo album R‚sistances (Ambiances Magn‚tiques, 2018) features sixteen Jean Derome's compositions, mostly improvised and performed mixing voice and acoustic, drums sets, double bass, strings, synthesizer, trumpet, piano, harp and also invented instruments.

Claudia Quintet's drummer John Hollenbeck formed in 2003 a Large Ensemble comprising of thirteen reedists, piano, vibraphone and vocalist Theo Bleckmann. Hollenbeck composed for the ensemble material for three album. For Omnitone he released A Blessing (august 2003), that featured six pieces of contemporary jazz. Eternal Interlude (Sunnyside, 2009), recorded in march 2009, was more avantgarde and free, sporting other six pieces (among which the 19-minute title-track), commissioned by various orchestras. The latest album, All Can Work (New Amsterdam, 2018), recorded in june 2017, pays tribute to disappeared trumpetist member Laurie Frink, and is largely presented here by the label.

Real Gone restored in 2017 on CD Ornette At 12/Crisis!, that gathers, as title suggest, the july 1968 session put on vinyl by Impulse, plus a forgotten live session released in 1972 by the same label and recorded in march 1969. Coleman, who played also drums and violin, led a stellar cast: Charlie Haden on bass, Dewey Redman on clarinet and tenor sax, Don Cherry on flute and trumpet. Among the five pieces collected, a reworking of Haden's Song For Che. Still by Coleman, Live in Paris 1971 (Domino, 2018) restores the old 1977 release by Jan label Trio, featuring seven pieces from a concert held with, again, Haden and Redman, plus drummer Ed Blackwell. Let's mention also the 2CD set The Love Revolution (Gambit, 2018), restoring a february 1968 Italian tour along in a quartet with Haden and Blackwell, plus the other bassist David Izenzon.

Plan B, the new Joe McPhee project comprising of James Keepnews on guitar and laptop and David Berger on drums, released From Outer Space (Roaratorio, 2018), a soundtrack to an imaginary science fiction movie. The vinyl collects ten pieces studio recorded in december 2015, mostly improvised. The leader was on saxes and trumpet.


January 2018:

Muhal Richard Abrams died at his home in october 2017 at the age of 87. In 2012 and 2016, Black Saint & Sound Note released two boxsets, of 8 and 9 CDs respectively, that collect his complete remastered recordings.

South African trumpetist Hugh Masekela, pioneer of jazz music in Africa and apartheid activist, died of cancer in Johannesburg on january 23, at the age of 78.

The Urmuz Epigrams (Tzadik, 2018) documents John Zorn's latest recording studio, a suite of compositions, say credits, "in the style of his legendary File Card compositions and Zoetropes". Dedicated to the visionary Romanian writer Urmuz, gathers, say credits, "pieces presented in two iterations, as a set of rare 78rpm records complete with surface scratches and limited dynamic range, and as a modern reconstruction of same with the full blown studio sound presented in all its perplexing glory".

The DoLP Discussions (Wide Hive, 2017) features Discussion Orchestra, a new project by Roscoe Mitchell, born from improvisations found on Roscoe Mitchell's Conversations with Kikanju Baku and Craig Taborn. Mitchell arranged the eight songs, among which the 22-minute Who Dat, and on sopranino sax played in a 20-piece orchestra led by Steed Cowart. Mostly of musicians debuted just with this release, or are quite unknown, but percussionist William Winant. Again by Mitchell, Accelerated Projection (Rogue Art, 2018) documents the reedist on alto & soprano saxes & flute and Matthew Shipp on piano. The set was recorded live in Italy in august 2005. The seven pieces alternate solos and duets, with themes quickly developped in improvisations.

After its first release as cassette, Alvin Curran's Natural History has been finally re-released on vinyl by Black Truffle. The two-part suite, a solo album by the artist, collects field recordings extracted from his archive, without additional processing, recorded over nearly 20 years, starting from 1968, at Curran's home in Rome or while traveling.

John Butcher's project Stray, with the leader on saxes, Dominic Lash on bass, John Russell on electric guitar and Stale Liavik Solberg on drums, debuted with Into Darkness (Iluso, 2017) featuring the namesake 51-minute suite recorded in december 2015, extensively presented by the label.

The 3CD set Ceci N'est Pas (Sono Sordo, 2016) documents latest Klaxon Gueules release, celebrating their 20th anniversary with 33 unreleased tracks, studio recorded between 1998 and 2014. The lineup featured, over the time, Michel F. Cote (drums, percussion, electronics), Alexandre St-Onge (basses, electronics), Bernard Falaise (electric and acoustic guitars, banjo, keyboards), Jean Derome (alto sax, flute), Ellwood Epps (trumpets), Philippe Lauzier (bass clarinet) and both on electronics Christof Migone and Sam Shalabi. All pieces are under 6 minutes. Bernard Falaise also released for Ambiances Magnetiques Lezardes Et Zebrures, a solo electric guitar album collecting nine pieces studio recorded in 2017.

The Deep Unreal (Metalanguage, 2017) features a solo electric guitar album by Henry Kaiser, recorded in december 2017 in one session. All improvised, no overdubs or looping, and long delays.

Octopus (Pyroclastic, 2018) features a piano duo by Kris Davis and Craig Taborn, recorded on concerts from which were extracted six pieces, among which two reworkings by Sun Ra and Carla Bley, also played on prepared pianos. Read here for liner notes.

Chansons Du Crepuscule (Public Eyesore, 2017) features a collaboration between guitarist Elliott Sharp and French harpist and vocalist Helene Breschand. The eleven pieces, studio recorded in may 2014, mix several musical genres: jazz, folk, rock, world and country. Extensively presented here by the label.

Invisible Threads (ECM, 2018) documents the new John Surman album studio recorded in july 2017. On saxews and clarinet, the reedist is accompanied by Brazilian pianist Nelson Ayres and Rob Waring on vibraphone and marimba. Twelve pieces.

D'Agala (Intakt, 2018) documents the Sylvie Courvoisier Trio led by the pianist along with Kenny Wollesen (drums & wollesonic) and Drew Gress (bass). Studio recorded in june 2017, the nine pieces feature compositions the pianist dedicated to several musicians recently dead (Ornette Coleman, Geri Allen, John Abercrombie, etc.).

Live At The Century City Playhouse (Dark Tree, 2017) features the Vinny Golia Wind Quartet with the leader on various woodwinds, John Carter on clarinet, Bobby Bradford on cornet and Glenn Ferris on trombone. The four recorded in may 1979 a concert from which were extracted five lenghty pieces, particularly the two-part 30-minute suite Chronos.

Italian label Wax Love delivers the vinyl Bye Bye Blackbird: Live At Penn State University, January 19th, 1963, featuring a John Coltrane's concert performed with his most famous lineup (McCoy Tyner on piano, Jimmy Garrison on bass, Elvin Jones on drums). Not to be confused with the namesake album firstly released on 1981, and featuring a november 1962 concert,

Satoko Fujii planned to release in 2018 twelve albums, one for month, to celebrate her 60th birthday. The first is Solo (Libra, 2018) that documents seven pieces (among which a Jimmy Giuffre's cover) performed in concert on a Steinway D274 by the pianist, recorded in july 2017. The second, will be out in february by her project KAZE, on which the pianist led the unchanged lineup (trumpetists Christian Pruvost and Natsuki Tamura, and drummer Peter Orins) for their fourth album, Atody Man (Libra, 2018), that collects six new pieces, keeping to sport the project's sound, a mix of noise, melodic and improvisations.

The label Phono just released Plays Sphere Jazz/Jazz Epistles - Verse 1, a CD that restores two rare albums by Dollar Brand. The latter features a september 1959 session led by trumpetist Hugh Masakela and his Jazz Epistles lineup, along with Jonas Gwangwa on trombone, Kippie Moetketsi on alto sax and Dollar Brand on piano. The former, Plays Sphere Jazz, recorded in february 1960 and firstly released in 1962 by Continental, is the first credited Dollar Brand album of ever, in his trio, along with Johnny Gertze on bass and Makaya Ntshoko on drums.

Ultra (Fundacja Sluchaj, 2017) features guitarist Joe Morris in seven studio improvisations dating back to july 2011, with Junko Fujiwara (cello), Agusti Fernandez (piano), Yasmine Azaiez (violin) and Tanya Kalmanowitch (violin and viola). Morris wrote the liner notes, stating: "Combining guitar with bowed instruments is not as simple as it might seem. The short sustain of the guitar can easily be overwhelmed by the bow. My first goal with Ultra was to have the strings key off of the guitar and interact using percussive sounds, harmonics, and proportional expressions of time (pulse) in addition to melodic ideas. The first tries on Ultra used a mix of strings, flute and trumpet with some notated parts. But the composed parts restricted the flow of the music, and so I abandoned the idea of this group".

The 8CD boxset New Jazz Festival Balver Hoehle (Be! Jazz, 2017) collects live recording dating back to 1976 and 1977 by several notable musicians and lineups. Let's mention: two Mal Waldron Trios' improvisations (june 1976, 40 and 16 min.); other two improvisations (39 and 18 min.) by Archie Shepp Group, along with Dave Burrell on piano, Cameron Brown on bass, Beaver Harris on drums and Richard Greenslee on trombone (june 1976); a 54-minute improvisation by pianist Yosuke Yamashita, along with Akira Sakata (sax) and Shota Koyama (drums), from the same previous session; an one-hour performance of solo piano by Joachim Kuhn (june 1977); another hour improvisation (same session) by the Willem Breuker Kollektief.

Recorded in july 2017, So Far (Relative Pitch, 2018) features Alexander von Schlippenbach (piano) and Rudi Mahall: (clarinets) in new eleven studio pieces collectively composed, presented here by the label.

The project Racehorse Names was created in 2017 by drummer Ben Hall and guitarist Joe Morris along with Mick Dobday (electric piano and organ), Anthony Levin-Decanini (electronics), Ronnie Zawadi (percussion), veteran John Dierker (reeds) and Mike Khoury (viola and violin). The lineup detuted for Relative Pitch with New Favorite Thing Called Breathing, a studio album collecting six pieces, mostly improvised, alternating collective and solos.

Shifting Sands (Terp, 2016) documents a studio album recorded in september 2015 by well known reedist Ab Baars (here on tenor and soprano saxes, clarinet and shakuhachi) and guitarist Terrie Ex.

Not Two delivers Celebrating William Parker @ 65, credited to Bobby Zankel & The Wonderful Sound 6. The project created by the reedist (here on alto sax) gathers a notable lineup: William Parker (bass), Steve Swell (trombone), veteran drummer Muhammad Ali (the brother of Rashied Ali), Dave Burrel (piano) and Diane Monroe (violin). The namesake suite was recorded in january 2017, developping melodic themes quickly evolved in free jazz, with solos, duets and collective.

The 2CD set City Fall (Fundacja Sluchaj, 2016) features Evan Parker on tenor sax, Mikolaj Trzaska on alto sax & bass clarinet, John Edwards on double bass and Mark Sanders on drums. The three pieces (partiucularly the 43-minute Hunting Moon and the 34-minute In Case Of Fire) were recorded in september 2014. The music is obviously a mixing of improvisations, often evolved in complicated drones.


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