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Saxophonist, flutist, clarinetist and 2011 ASCAP Young Composers Award winner Joshua Kwassman studied at the New School in New York. He has also spent time studying with established jazz artists including keyboardist Rachel Z, saxophonist Mark Turner and bassist Reggie Workman. As a performer he has worked with artists like trumpeter Ingrid Jensen and pianist Geoffrey Keezer. This recording is an EP with three selections, though they are extended in length, totaling 30 minutes.

 

Electronic whiiiiiiiine! Clatter! Softer whiiine. Clopping of an uncoordinated, seven-legged pony. Screeech! Scrunch. Electronic drone. Yada, yada, yada. If that's your idea of either fun or how to extend the possibilities of trumpet playing, you'll love this album. Otherwise, for all but the most open minded-- or gullible-- this is noise. If you doubt my judgement, visit the Carrier Records site. It says, "We believe in noise."

San Jose, Calif., — Mike Portnoy, considered one of the most powerful players in the world, has garnered his first “Drummer” Of The Year” award in Enter Music Publishing’s 16th Annual Drummies reader’s poll awards. Definitely a dream come true for Portnoy, he also took “Best Metal Drummer” and came in second place in the “Progressive Drummer” category. Addditionally, Stanton Moore won "Best Funk Drummer" for a second straight time.

 

 

With its 20th album, this Chicago-based outfit continues to abide by a multitasking line of attack while spreading good karma throughout the broad plane of progressive-rock idioms.  Hence, the group's charismatic persona and clever arrangements imprint a symbol of authenticity.

White Hills' second album for Thrill Jockey records is in part, based on corporate misgivings and an insipid quality of life in America.  Here, the musicians generate space-rock, modern psychedlia and noise music to shape a rather punishing sequence of events.  And from the noise or volume perspective, these gents would give vintage Black Sabbath a run for the money.

Founder of the seminal progressive-rock band King Crimson, guitarist Robert Fripp employs his legendary Frippertronics effects with formidable saxophonist Theo Travis on this resonating live release culled from a performance at the Coventry Cathedral in the U.K.  Travis’ work with the Soft Machine Legacy instills a deep-rooted sense of British progressive-rock colonialism while teaming with the fabled and undeniably influential guitarist.  And his escalating stature within jazz and rock vistas has served him well amid numerous first-call session gigs and solo endeavors.  Here, the duo parlays a rather sanctified realm of musical notions.

New York-based organist Jared Gold leads a no-nonsense set of original progressive jazz compositions on All Wrapped Up, his fourth release for Posi Tone Records. Along with a trio of acclaimed sidemen—tenor saxophonist Ralph Bowen, trumpeter Jim Rotundi and drummer Quincy Davis—Gold draws deep into the well of organ-led jazz, preserving the styles of some of the genre's more intricate pioneers, particularly Don Patterson and Larry Young.The disc's high flying opener, "My Sentiments Exactly," features a twisting melody, deftly pronounced by Gold, Bowen and Rotundi. All three soloists careen through the tunes' clever changes and boisterous bebop tempo. The angular stride and soulful bounce of "Get out of My Sandbox" inspires swinging rounds by all. Here, Gold stands out with his hard-driving, aggressive approach. 

 

Who would have guessed that British singer and actress Julie Tippetts, known for her work with organ great Brian Auger; affiliations with Rod Stewart and recordings with husband, pianist Keith Tippett would lead to her alliance with avant-gardist Martin Archer?  Stranger things have happened as they say, yet with the follow-up to Ghosts of Gold (Discus 37CD, 2009) the vocalist's charismatic contributions yield additional rewards.
Adventurous expressionism is a key factor within semi-structured or avant jazz-based endeavors. With their second quartet outing for Intakt Records, pianist Sylvie Courvoisier and violinist Mark Feldman cover a gamut of articulately designed modes of interaction. Introspective, sublime and occasionally foreboding, the quartet engineers a potpourri of delicacies, all executed with a deterministic modality. On pieces such as “Dunes,” the sterling audio processing might enable the listener to hea
One of the preeminent soprano saxophonists in modern jazz, Jane Ira Bloom possesses more than just technique. Very few jazz artists are able to project a distinct or personalized sound. For example, most ardent jazz aficionados would be able to identify her in a Downbeat magazine style blindfold test. Once again, Bloom imparts memorable compositions, underscored with sinuous developments and a prevailing sense of intrigue. Bloom’s equally prolific supporting cast featuring, bassist Mark Helia