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  • reviews_cs265
    a philharmonic recital with those motifs then followed by go for broke extended techniques invested with deadly seriousness Other times the interface opens up into near hedonistic swing as joyful and heedless as fanciful rhythm exercises What cements the parts together however is the perceptive interlocking of theme with invention Cypher Circle Song and Dark Diphthong which follow one another couldn t be more different in exposition yet each leaves a sense of a thought completed when finished The latter for instance is cacophonous commotion in which each man appears hell bent on showing how many uncommon note patterns can be shoved into the tune before it detonates Eventually though brass plunger blats and staccato bites from the other horns are soon rearranged into notable cohesion following smoothing glissandi from Anissegos If Dark Diphthong relates to late period Coltrane then Cypher Circle Song could have been welcomed at an Eddie Condon after hours jam session Cheerily optimistic when Gschlössl s tailgate blats or Floridis sinuous flutters are heard they suture obdurate parts as much as they shock Concentrated swaying vibrations create a clam bouncy interface throughout although Miethe s circular breathing sequence suggests that someone familiar with Evan Parker s reed advances could have been gigging in a Trad Jazz context if the Moldy Figs weren t so change resistant Change may be one of the leitmotifs of The Alliteration the album and the band but so is restraint Every individual instance of breath taking instrumental extension and there are many is ultimately subordinated to chamber music like discipline Neither solo smarts nor cascading climaxes are downplayed but at every critical junction the supremacy of group creation is emphasized This CD was recorded in mid 2011 It s time for a new one to see how the ensemble has progressed

    Original URL path: http://www.creativesourcesrec.com/reviews/reviews_265.html (2016-02-11)
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  • reviews_cs266
    Viewers Roberto Sassi all elettrica Cardosanto e un presente nei notevole e zigzaganti Vole Alison Blunt al violino scovate il duo con Gianni Mimmo e poi mi direte Strutture fluide ed intriganti cameristiche e basate su progressioni combinatorie numeriche Percorsi descrittivi e coesione massima Deragliamenti e corrosioni chiari di luna ed adorabili ciondolamenti notturni Provengon tutti dall esperienza della London Improvisers Orchestra e questo lavoro è da ascoltare e riascoltare Marco Carcasi Kathodik Another awesome release from the stack of releases by Creative Sources comes from Ensemblo Progresivo a project that Madrid born composer saxophonist and clarinetist Ricardo Tejero made by a simple idea that is improvising within a compositional context I can t say such an idea is totally new but the very fact that Tajero belongs to those musicians who believe that all those more or less academic debates about the distinguishing elements between composition and improvisation which caused a remarkable waste of breathe and ink are not really useful The stronger argument for such an idea is the way this ensemble implemented this coexistence which is not only peaceful but almost idyllic as you can easily verify by listening to some of what they define progressions by this ensemble by means of what they call progressions is really amazing according to some words that got written when the Ensemble Progresivo moved its first steps The concept of progression is ever present in the work of this band Following the principle of non repetition and ephemeral existence that improvised music has at its core ensemble Progresivo aims to draw upon what they like to call Progressions pieces where the structure is prearranged using a combination of references and musical elements worked out by Rocardo Tejero achieving different form every time a new Progression is played in this way

    Original URL path: http://www.creativesourcesrec.com/reviews/reviews_266.html (2016-02-11)
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  • reviews_cs267
    a guess Shibolet unfurls single note lines one after another held fairly uniformly with little pause between I thought of single color slides being presented the colors very complex though not necessarily related to those coming before or after I also remembered Richter s color sample paintings though there s a graininess in play here not found in the visual analogy The singular focus makes the recording more absorbing than

    Original URL path: http://www.creativesourcesrec.com/reviews/reviews_267.html (2016-02-11)
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  • reviews_cs268
    moment pour Rodrigues d échanger le lot de murmures qu il a collectés contre un rythme délicat Si délicat qu il ne peut devancer longtemps l évanouissement qu il avait à ses trousses Guillaume Belhomme Le Son du Grisli Uma das fórmulas a que Ernesto Rodrigues deu mais atenção nos últimos tempos foi a do agrupamento de grande número A sua VGO ou Variable Geometry Orchestra tem estado parada devido às dificuldades logísticas envolvidas ou seja ao problema que é acertar as disponibilidades de tantos músicos mas no seu lugar surgiu o IKB Ensemble A premissa é interessante como é que uma formação deste tamanho pode realizar o princípio de que menos é mais reduzindo cada intervenção ao mínimo Os resultados estão em três discos saídos quase de seguida Anthropometrie sans Titre Rhinocerus e Dracaena Draco E o que é mais no menos proposto A miríade de situações e detalhes contrariando o que encontramos nas obras de reducionistas radicais como Radu Malfatti e Taku Sugimoto Nos dois últimos lançamentos um gravado no Panteão Nacional e o outro na St George s Church em Lisboa os músicos ainda se contêm mais mas cada pequeno sopro arcada raspagem sinusóide ou batimento que fazem ganha uma maior consequência graças às ressonâncias daquelas salas de pedra Nesse aspecto Rhinocerus é uma delícia para os ouvidos Ouvimos o espaço a viagem dos sons pelo ar Rui Eduardo Paes Jazz pt When I introduced Monochrome Bleu Sans Titre the first release by this supergroup of improvisational musicians I tried to explain the possible conceptual connection with so called nouveau realisme an artistic movement whose co founder the Frenck pinter Yves Klein gave the name to the kind of blue International Kein Blue that this ensemble used to name itself Even if rhino was one of the

    Original URL path: http://www.creativesourcesrec.com/reviews/reviews_268.html (2016-02-11)
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  • reviews_cs269
    well laid out no obvious missteps but also playing it in 2014 too safe Sukhan s trumpet takes on any number of extended techniques though he s more full throated than most Favorin stays within the piano activating and buzzing

    Original URL path: http://www.creativesourcesrec.com/reviews/reviews_269.html (2016-02-11)
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  • reviews_cs270
    and you have the Foils Quartet Play their album and you enjoy some excellent improvised music Originally Müller and Schubert worked as a duo named Foils before inviting Sanders and Edwards Sanders and Edwards have a long history as the rhythm section of Trevor Watts and Evan Parker units Müller is a Berlin based improviser but also plays a role in the new music scene especially as a member of the Echtzeit scene Kai Fagaschinski a o Frank Paul Schubert is also involved in improvisation and contemporary jazz Coming from the Aachen area he played with many mainly German musicians Willi Kellers Johannes Bauer Alexander von Schlippenbach So a German British collective that excels in very communicative improvisations What a joy to listen to Never a dull moment here Throughout they play intense and concentrated on a continuous high level Thrilling playing by Schubert what a player They unfold their ideas in two lengthy improvisations Eddie s Flower and Amaryllis Belladonna Recorded live on april 2nd 2013 in Birmingham Eddie s Flower takes more than 50 minutes but is worthwhile from beginning to end A real tour de force The instruments make a nice colour palette Especially through the combination of trombone and sax It is above all the constant stream of musical ideas that make their interplay very rich and fascinating Quite and subtle textures change for high energy battles Totally gripping music emotional as well as cerebral if this distinction is of any meaning Dolf Mulder Vital Weekly The Jersey Lily documents the wind duo of Frank Paul Schubert Matthias Müller the Berlin improvisers expanding to a quartet in England with John Edwards Mark Sanders The result is classic FREE jazz invoking a kind of transcendence within skepticism as Clayton Thomas puts it in a discussion of the similar Life in a Black Box which I discussed here in October and which made its way onto some best of lists This sort of music is rather the opposite of reductionism and one might think restraint Another album to compare is Live in Madrid also featuring Schubert with a trombonist but with more structural pivots The Jersey Lily can seem kind of long but it s a very active album including soloing motivic development that listeners who enjoy the classic free style will likely appreciate Todd McComb medieval org This avalanche in the canyon of free jazz comes from a musical liaison between Germany and UK the favourable meeting between the excellent wind Berlin based duo by Frank Paul Schubert whose empathy with his soprano saxophone and the other elements of the band has a dynamite shape on this record and Matthias Muller on trombone and John Edwards bass and Mark Sanders a real octopus on drums two brilliant improvisers from the vibrant English scene This fourtet gave rise to two impressive sessions of so instinctively head banging and constantly spinning free jazz that you might wonder what kind of power pill they swallowed to blast their musical energy

    Original URL path: http://www.creativesourcesrec.com/reviews/reviews_270.html (2016-02-11)
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  • reviews_cs272
    this duo disc helped Cru to the top of the listening pile and I am very pleased it did so At first this release sounds like a particularly lovely recording of the two musicians performing outdoors in an urban setting playing quietly and sparsely allowing their sounds to blend into the independently occurring environment around them For the first couple of listens I assumed that that was what I was hearing and spent time trying to picture the precise surroundings the musicians set themselves amongst as vehicles of various sizes and I think more than one train seem to pass by at differing distances Although the environmental sounds really take the foreground here I was troubled by the way that it was difficult to fix a definite image in my head that encompassed everything to be heard Exploring the minimal sleeve notes before a third listen then revealed that although we are only presented with the one track here it was recorded both in Fages home city of Barcelona in 2013 and Rodrigues home of Lisbon the following year Clearly then what we hear is some kind of splicing together of two recordings In late November I saw Ferran briefly and he confirmed to me that for this release at least he had not met up with Rodrigues So rather than being two duo recordings in two cities spliced together clearly Cru is made up of two solo recordings overlaid on one another What I didn t have time to ask Ferran are any more details beyond this but that s where the fun lies anyway relying on your ears to figure things out How did this recording come about Did one of the two musicians record themselves outside and the second then played into and over the result Were both musicians outside We know that one recording was made months before the other but did the second musician respond directly to the first recording or did they merely make a similar recording of the same length so the two could be juxtaposed Its hard to pin down answers to these questions Certainly listening closely it does feel like one of the musicians is responding to the other There are long silences or rather environmental interludes when the musicians make no sound only for both musicians to start playing together in roughly the same time brackets This suggests that one of the pair played along with the first recording If this did happen then I will guess that Rodrigues took the secondary role as the way the electronics seem to take the lead more often than not Were they both outside Were any of the musicians outside Perhaps both musicians played into a separate field recording The options are endless and no amount of close listening really reveals anything that gives the game completely away What we do know is that the end result is a quite beautiful if vaguely distant and hard to connect to recording The sounds both

    Original URL path: http://www.creativesourcesrec.com/reviews/reviews_272.html (2016-02-11)
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  • reviews_cs273
    le Raining Fire de Charles Gayle Mille feuille sur tom et caisse claire martelée George Hadow archet dissonant et adverse Gonçalo Almeida ténor en surchauffe John Dikeman on connait la formule on y admet souvent quelque lassitude d écoute Mais il y a ici l homme des Cactus Truck ce souffleur infatigable ce bourreau du souffle nommé John Dikeman Chez lui la tendresse ne pourra être que convulsive les tics seront envoyés au vestiaire Adepte de la déconstruction refusant distraction et automatismes il lacère brutalise son ténor borde cette bête immonde qu est le free jazz Après tant de copies le saxophoniste y est parfois tombé anche la première et d implosions inutiles voici un disque réconfortant Bruyamment réconfortant Luc Bouquet Le Son du Grisli Things are of a different nature with this trio consisting of Gonçalo Almeida on bass John Dikeman on sax and George Hadow on drums three musicians who happen to be based in the Netherlands As the title suggests this is a monster of a trio ferocious raw wild fierce and sufficiently clever and creative to keep the interest going including the wonderful shift at the end of the first track The second piece starts with a long bowed bass intro and when the two youngsters join the energy picks up again for some fantastic interplay one in which all three musicians play an equal role And then it s hard to describe why this is good why this is so much better than the average because you have to hear it The heat that drives these musicians the phenomenal skills that avoid automatisms the discipline to listen to each other the inventiveness in the moment the focus to stay in the same tune while feeling as free as a bird a monster of a bird

    Original URL path: http://www.creativesourcesrec.com/reviews/reviews_273.html (2016-02-11)
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