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by Rocco Stilo
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December 2015: The vinyl The Conjuring (New Atlantis, 2015) debuts Premature Burial, the new Peter Evans' project, that sees the reedist on piccolo trumpet, along with Matt Nelson (sax and effects) and Dan Peck (tuba and effects). Recorded in a church on fall 2013, their four pieces (notably the 17-minute Cataleptic Fantasy) feature an "ambient jazz" sound, darked with various effects, amplified by the church's acoustics. The label describes it extensively here.

Accompanied by a 200-page book, the all-reeds 2CD set Site Specific (Audiographic, 2015) was recorded outside of a studio or concert hall by Ken Vandermark on solo tenor sax, baritone sax & clarinets. The 30-minute suite House was recorded as a home concert in august 2014; the 36-minute Cavern was recorded in april 2015; in the same session was instead performed the 26-minute Tracks; Pipe, the day after in april.

Singular Curves (Auand, 2015) documents a collaboration between bassist Steve Swallow, saxophonist Ohad Talmor and drummer Adam Nussbaum. The trio began to work together since 1981, and released their first album, Playing In Traffic, in 2009, as a live september 2008 recording. The session of Singular Curves dates instead back to june 2012, featuring 13 tracks.

By the same label, T-Duality features a collaboration by Italian drummer and composer Ananda Gari with Tim Berne (alto sax), Rez Abbasi (guitar) and Michael Formanek (double bass). Balanced between themes composed and free improvisation thanks to interaction between musicians, the album was studio recorded in march 2013, collecting seven pieces. As for Rez Abbasi, let's remember he is on stage since 1991, when he recorded the first half of his debuting Third Ear (the second part was recorded in november 1992), that gathered, among others, veterans drummer Peter Erskine and pianist Marc Copland. Third Ear was followed by 1996 Modern Memory, 2002's Out Of Body, with Tony Malaby on saxes, the 2005 Snake Charmer (long-recorded from february 1990 to june 2003), the september 2005 Bazaar, with Rudresh Mahanthappa on alto sax plus Dave Liebman on soprano sax, Things To Come (recorded between december 2008 and january 2009 with Mahanthappa and Iyer), the may 2010 Natural Selection, possibly his best work, on which he was on acoustic guitar for the first time, accompanied by Bill Ware on vibraphone, Stephan Crump on acoustic bass and Eric McPherson on drums; and the december 2010 Suno Suno, an atypical bop-fusion work, again with Mahanthappa, and Vijay Iyer on piano. Abbasi's trio, with bassist John Hebert and drummer Satoshi Takeishi, recorded instead in may 2012 Continuous Beat. Intents and Purposes (april 2014) features the same quartet of Natural Selection.

Doxy restores on vinyl Shadows, that features Charles Mingus's soundtrack for the 1959 debut of John Cassavetes's namesake film. The soundtrack was recorded in spring and summer 1958 with this personnel: Mingus on bass, Jimmy Knepper on trombone, Shafi Hadi on tenor sax, Horace Parlan and Phineas Newborn both on piano, Dannie Richmond on drums, plus unidentified players on trumpet, flute and alto sax. Most of the sessions, though, was lost in original 1959 version. However, in a 1964 interview, asked about the soundtrack, Mingus replied: "I have nothing to do with the soundtrack of the film. I did write something but I could not finish what I had planned. We spent barely three hours in the studio where the music was to be recorded. We did not go beyond playing a few bars. That was it. I abandoned because we could not agree on the financial aspect [indeed, the musicians were paid about $ 20 apiece for the sessions!]. Cassavettes got hold of the music played by the tenor saxophonist who was in my band". The tracks: Untitled Percussion;  Composition (7:21); Nostalgia In Times Square (12:15); Alice's Wonderland (8:54); Self-Portrait In Three Colours (3:08).

Emanem restores Fairly Early With Postscripts, a Derek Bailey album originally released in 1997, that collects 14 acoustic and electric solos by the guitarist, recorded between july 1971 and october 1998. Among the pieces, it's worth mentioning the 12:30-minute suite Six Fairly Early Pieces (july 1971), performed on amplified guitar with volume pedal.

Adam Rudolph's Go: Organic Orchestra comes back with Turning Towards The Light (2015, Cuneiform). After having debuted with 1 (november 2001), followed by Web Of Light (march 2002), the ensemble released Thought Forms (Rubi Red, 2008), recorded in june 2006 (all of these were live recordings), followed by Sonic Mandala (studio session in april and may 2012). This large ensemble, renamed in this occasion Go: Organic Guitar Orchestra, recorded in december 2014 thirteen new pieces with a renovated all-guitar-and-bass lineup, comprising of Rez Abbasi, Nels Cline, Liberty Ellman, David Gilmore, Miles Okazaki, Marvin Sewell, Damon Banks, Marco Capelli, Jerome Harris, Joel Harrison and Kenny Wessel. Composed and improvisationally conducted by Adam Rudolph.

Factorizations (Evil Clown, 2015) features Steve Swell on trombone along with the project Leap Of Faith, comprising of Dave Pek on clarinets, saxes, double reeds, taragato, metal & voice, Glynis Lomon on cello & voice, Steve Norton on clarinets & saxes and Yuri Zbitnov on drums & metal. Recorded in august 2015, the disc documents a solo set from Steve Swell and another set with Leap of Faith and Swell together.

John Zorn comes back with Cerberus, the 26th volume of Book of Angels series, recorded between july and august 2015. Fot his new work Zorn composed ten new pieces performed by the Spike Orchestra, a 18-musician ensemble comprising of 11 reedists, plus guitar, accordion, voice, piano, keyboards and drums.

Archive Selections Volume 2 (Planet Arts, 2015) is a 3CD set by Creative Music Studio, and ensemble created since early '80s, featuring, among others, Anthony Braxton, Marilyn Crispell, Kalaparusha Trio, Frederic Rzewski & Karl Berger, Lee Konitz, Paul Motian Trio, Don Cherry, Collin Walcott, Nana Vasconsuelos, Aiyib Dieng, Baikida Carroll, Gerry Hemingway, Charles Brackeen, Steve Gorn. This is the follow-up of another 3CD set, divided in Small Ensembles, Large Ensembles and World Music. Notable, among the compositions, the duo Anthony Braxton/Marilyn Crispell in a performance recorded in december 1977; the trio of Paul Motian, Charles Brackeen on reeds and David Izenzon on bass; the duo with composer and pianist Frederic Rzewski with Karl Berger on piano; Don Cherry, who leads a large ensemble here which includes the members of his trio Codona: Nana Vasconcellos (percussion) and Collin Walcott (sitar); another large ensemble led by Gerry Hemingway; the six pieces of the third disc, featuring Trilok Gurtu, Aiyb Dieng, Ustad Dagar, Amadou Jarr and Steve Gorn.

Emanem restores several rare Evan Parker's recordings. Waterloo 1985, first released in 1999, document the 1-hour suite Dark Interior, recorded in august 1985 with the leader on sopprano and tenor saxes, accompanied by Hans Schneider (double bass), Paul Lytton (percussion and electronics), and Paul Rutherford (trombone), mostly improvised. The Ayes Have It, first released in 2001, documents a trio with Paul Rogers (double bass) and Jamie Muir (percussion); the album collects five pieces; four of them were studio recorded in december 1983; the fifth (36:30 minutes) was the title-track recorded in concert in august 1991. The Two Seasons is a 2CD set first released in 2000, that collects eleven pieces studio recorded in two sessions (february and july 1999), with John Edwards (double bass) and Mark Sanders (drums).

14 Rue Paul Fort, Paris (Leo, 2015) features Joelle Leandre (bass), Benoit Delbecq (piano) and Francois Houle (clarinets) in a seven-part 50-minute studio improvisation, recorded in november 2013.

Yesterday Night You Were Sleeping At My Place (Sofa, 2015) was the debuting 2007 album, now restored after its first obscure release, by project Muta, founded in 2003 by the trio of Alessandra Rombol… on flutes, Rhodri Davies on amplified harp & electronics, and Ingar Zach on percussion & devices. Their seven electroacoustic pieces feature an enigmatic sound, basically a jazz improvisation whose starting themes are hard to identify. Recorded in march 2006. The trio represented the same approach on the following Bricolage (recorded in april 2009), that collects six pieces mixing jazz, textures and electronica.

To Be Real (FMR, 2015) documents the trio of pianist Paul Dunmall, along with John Edwards (double bass) and Tony Marsh (drums), whose album features four pieces, the 32-minute title-track recorded live in june 2007, and the other three studio recorded in march 2007. Still by Dunmall, I Look at You, from the same label, documents a concert recorded at the Birmingham Conservatoire the last july, on which the leader was on soprano sax and clarinet, accompanied by Phillip Gibbs (acoustic guitar), Hanna Marshall (cello), Neil Metcalfe (flute) and Alison Blunt (violin). The four long and all acoustic pieces feature a free chamber music.

Credited to clarinetist Douglas Ewart, Angles Of Entrance, is restored now by Arawak, after its 1996 first obscure edition by the same label. Recorded in july 1990, its six pieces feature Anthony Braxton, Roscoe Mitchell, Henry Threadgill, Don Byron, J.D. Parran, Ed Wilkerson, Mwata Bowden & Mr. Ewart (all on clarinets!), plus Malachi Favors on acoustic bass.

The vinyl Tongue Tied (Hapna, 2015) documents two long-side works (15 and 16:30 minutes, respectively) composed by Oren Ambarchi (guitar, drums, synthesizer), accompanied by Johan Berthling (electronic bass, double bass, Hammond organ, synthesizer), well known as member of Mats Gustafsson's trio Fire! Recorded in 2014, the disc is described here by the label.

Cold Duck (Monotype, 2015) features S4, i.e. the soprano sax quartet of John Butcher, Christian Kobi, Hans Koch and Urs Leimgruber in nine pieces studio recorded in january 2015.

Oakland/Lisboa (Rogue Art, 2015) is the second disc from the MMM Quartet, featuring Joelle Leandre (double bass), Fred Frith (electric guitar), Alvin Curran (piano, synthesizer, samples) and Urs Leimgruber (tenor & soprano saxophone). Recorded live in august 2014. MMM stands for Mills Music Mafia, which is the school (Mills College) in the Bay Area where Mr. Frith, Ms. Leandre and Mr. Curran met and teach. Their first release, let's remember, was the concert Live At The Metz' Arsenal, recorded in november 2009.

The 4LP Set Premonitions 1980-1985 (Vinyl on Demand, 2015) is a ltd ed. 500 documenting Robert Rich's early stage of composition and performance, from 1979-'85. Mostly previously unreleased, this drone-ambient-experimental collection is comprising of eleven compositions, among which: the 27-minute Selene & Ether; the 26-minute Clouds 8-15 and Nocturne; the 25-minute Live Monterey and Live Stanford; the 17-minute Manna.

After having left Pere Ubu, keyboardist Allen Ravenstine came back producing two CDs in a "2-days" session in spring 2012, along with the other keyboardist Robert Wheeler: the first, Farm Report, released by Blue Jet Corporation, features the two in an experimental and electronic album, nine pieces (among which the 17-minute Traveler and Sky Wire); the second, City Desk by the same label, keeps to feature the previous approach, other nine pieces (among which the 19-minute Comet Report). The label releases the albums here. For ReR Megacorp, Ravenstine just recorded his first "solo album", The Pharoah's Bee, on which he plays theremin and synthesizer, performing eleven pieces more minimalism-oriented.

November 2015:
The 2CD set John Stevens' Away/Somewhere in Between/Mazin Ennit (BGO, 2015) restores three rare vinyls by Spontaneous Music Ensemble's member, plus four bonus tracks. Away, originally released by Vertigo, documents a live performance recorded in november 1975, with the drummer, Peter Cowling on electric bass, Steve Hayton on electric guitar and Trevor Watts on alto sax. Somewhere in Between featured Stevens along with Nick Stephens (electric bass), Ron Herman (acoustic bass), Robert Calvert (soprano and tenor saxes), David Cole (electric guitar), Br‚no T'fordo (percussion) and John Martyn on vocals and guitar. The album was studio recorded in june 1976. Mazin Enni was performed by the same personnel, but Terry Quaye replaced T'fordo on percussion. Studio recorded in october 1976.

The vinyl Obscure Fluctuations (Trost, 2015) is credited to the Dikeman Noble Serries Trio, i.e John Dikeman (tenor sax), Steve Noble (drums) and Dirk Serries, a.k.a. Vidna Obmana (electric guitar). Their music, balanced between free improvisation and minimalisms, was recorded in april 2015, sporting two side-long tracks, both 23-minute long: From Assent To Refusal and The Heart Strips Bare.

Ingrid Laubrock's Ubatuba (Firehouse 12, 2015) features the German saxophonist's quintet, who recorded this album in september 2014. Personnel consists of Tim Berne (alto sax), Tom Rainey (drums), Ben Gerstein (trombone) and Dan Peck (tuba), whereas the leader was on tenor and alto. Laubrock's compositional method for these new six pieces was to create a polyphonic, melodic and organic experience, juggling the mass and area, structure and free space, balancing between melodic and dark themes and improvisations.

Great Spirit (Aum Fidelity, 2015) features William Parker on bass & compositions, and the project Raining on the Moon, comprising of Rob Brown on alto sax, Lewis Barnes on trumpet, Eri Yamamoto on piano, Hamid Drake on drums and vocals by Leena Conquest. This is the second release by his project, the follow-up of Corn Meal Dance; these seven unissued pieces come from that same session, having them been studio recorded in january 2007.

Fred Frith/Michel Doneda (Vand'ouevre, 2015) features guitarist Fred Frith with Michel Doneda on soprano & sopranino sax. The album was recorded live in february 2009. The duo propose a quiet and relaxing sound, especially in the three long tracks, the 17-minute Cut And Run, the 16-minute Allure Au Plus PrŠs, and the 13-minute The Devil And The Deep Blue Sea. Still by Frith, Field Days (ReR, 2015) collects four pieces composed for choreographer Amanda Miller and the Nederland Dans Theater. This work was performed with Lotte Anker (sax), Karla Kihlstedt (nyckelharpa and violin), William Winant (percussion), Daan Vandewalle (piano), Kiku Day (shakuhachi), and two quartets (strings and saxes). The pieces are loop-based and textural, with invocations of landscapes, with Frith multi-instrumentist, mainly on his steel guitar.

The Loneliness Of The Long Distance Improviser (Swell, 2015) features, as says subtitle, Solo Trombone Improvisations, Steve Swell on solo trombone. His fifteen autoproduced solo pieces feature frequent timbre changes. Kende Dreams, instead (Silkheart, 2015), features Swell with Rob Brown (alto sax), Connie Crothers (piano), William Parker (bass) and Chad Taylor (drums). Recorded in december 2014, this work is an hommage inspired by Bela Bartok (but not a reworking of his music), especially in the 14-minute Bartok Screams and Lent-Oh!

Logos (ReR, 2015) features the project Artaud Beats, with ex Henry Cow Geoff Leigh on flute, sax, voice & electronics, Yumi Hara on piano, clavichord, synth & voice, John Greaves on bass, grand piano & voice and Chris Cutler on drums & percussion. After his 1988 From Here To Drums, Leigh released only rare recordings: the 2006 Mirage, with multi-instrumentist Cathy Williams, and the 2009 Upstream, with keyboardist Yumi Hara. This project was created since 2009, releasing until now the album Live At Avantgarde Festival, nine untitled pieces live recorded in august 2009. Logos, that reunites three members of Henry Cow, features eight pieces of avantgarde and jazz rock sound, often improvised, studio recorded in january 2014.

After their september 2010 Hands Together, Nate Wooley's Quintet comes back with (Dance to) The Early Music (Clean Feed, 2015). The album propose a reinterpretation of six Wynton Marsalis's early 1980's tracks, plus three new Wooley's compositions. Trumpetist' lineup isn't changed: Josh Sinton on bass clarinet, Matt Moran on vibraphone, Eivind Opsvik on double bass, and Harris Eisenstadt on drums.

On The Way To Two (restored now by C.A.M. Jazz) documents the duo of Kenny Wheeler (trumpet, flugelhorn) and pianist John Taylor, in an old studio session (march 2005), from which were extracted ten pieces, composed individually and/ort together, but the final 8-minute version of Billy Strayhorn's A Flower Is A Lovesome Thing. John Taylor died before the album's production was completed.

The vinyl If You Have Time (Omlatt, 2015) documents Joe McPhee (tenor sax, pocket trumpet, voice) along with Konstrukt project, i.e. Korhan Futaci (tenor sax, theremin Moog), Umut Caglar (electric guitar, synthesizer, organ), Ozun Usta (double bass) and Korhan Arguden (drums). They studio recorded in may 2014 four pieces collectively performed with many improvisations and moments quite non musical. This is the follow-up of their starting collaboration on Babylon, recorded two months before. Turkis group Konstrukt, let's remember, was founded in 2008, recording since now fifteeen albums, mostly collaborative.

Coming from the same session of Garden (november 1981), Garden, 2nd Set, collects another set of Cecil Taylor's performances, other solo five improvisations, issued for the first time, among which stands out the 25-minute Garden II.

The posthoumous Quintessential Birthday Trio - Vol. II (Asian Improv, 2015) features Fred Anderson on tenor sax, Tatsu Aoki on bass and Chad Taylor on drums. The four pieces was recorded in december 2009.

Celestial Weather (TUM, 2015) features Wadada Leo Smith on trombone and John Lindberg on contrabass. This studio recording is comprising of the 17-minute Malachi Favors Maghostut, the 34-minute namesake suite, and the 11-minute Feathers and Earth.

The 2CD set Tuning Out (Emanem, 2015) features, as say credits, ®improvised pieces for tracker action organs and strings recorded in five English churches¯ by the trio of Veryan Weston (piano and organs), Jon Rose (violins) and Hannah Marshall (cello). These 155 minutes of unissued tracks were performed in concerts in may 2014. 

Planets Of Life Or Death (Strut, 2015) documents the first release of a live october 1973 Sun Ra Arkestra performance, recorded direct from the soundboard. Especially, the album sports an instrumental 17-minute version of Love In Outer Space, with the leader on electric piano and synthesizer, and the core lineup with Marshall Allen, Danny Ray Thompson and John Gilmore; whereas the 24-minute ttitle-track features a very free and pantagruelic, collective ride.

Colonial Donuts (Palilalia, 2015) documents a duet between Harry Pussy's guitarist Bill Orcutt and Barn Owl's drummer Jacob Felix Heule. The two, after three years performing together, deliver 13 duets recorded between winter and spring of 2015. This set sport a mixing of folk, blues and free improvisations.

Busman's Holiday (Erstwhile, 2015) is the second collaboration between Kevin Drumm (guitar, piano, electronics and tape) and Jason Lescalleet (Hammond organ, Casio, amplified objects & tapes). This long-redcorded work (from february to october 2015) features six lenghty pieces, electronic noise and organ drones, as, say credits, "a meditation on the inner mental environments that one encounters and endures during times of work-related travel".

Philip Corner's credited vinyl PoorManMusic (Alga Marghen, 2015) documents the 33-minute namesake unissued suite performed in march 1967 along with Max Neuhaus, Steve Reich, James Tenney, Malcolm Goldstein, Jackson Mac Low, Dick Higgins, Alison Knowles, Carolee Schneemann, Jerome Rothenberg and the Technicians of the Sacred. This atypical work is comnposed of sounds that can only be made with one's own body. Say credits: "The simplest materials and the things your own body is and does claps, slaps, stamps. Rubbing and scratching: body, all parts, and clothing if any voices. And all the sounds your voice and breath and throat may make except words. Although a mightbe rare&special one-sound deep word and meaning/warning, affectations show up. If sincere, express. Better a middle and easy utterance of like natural soundings & thus beyond outside things, but the matter might be simple sticks of every day life. The small stones and the fabrics papers and textures, easily picked up. Rattle, rattles, nuts little bells, seeds this is not quite all of homemade noise makers".

Water Above Sky Below Now (Morphine, 2015) features the 39-minute three-part improvisation composed by Pauline Oliveros and playwright, poet, educator, and performer-improviser Ione. Oliveros performed her work on Expanded Instrument System (EIS), an electronic sound-processing environment that allows improvising musicians to transform their own acoustic input in real time. Her digital accordion, with Ione's vocals and spoken word, is manipulated and diffused through multiple channels. Recorded at New York Live Arts, Live Ideas Festival in april 2015.

October 2015:
The 2CD set You Can't Get There From Here (Fractal, 2015) features the leader Henry Kaiser on guitar, Michael Manring on bass, Danielle DeGruttola on cello, along with Carnatic musicians Wu Na on guqin, Aanatha R. Krishnan on mridangam & kanjira and Gautam Tejas Ganeshan on voice. Recorded in june 2010, this album features 16 tracks, brief and long (among which the 24-minute title track), combining a mixture of ancient Chinese music, jazz fusion, Carnatic Classical music of South India and improvisations.

Pianist Joshua Abrams releases Music For Life Itself & The Interrupters (Eremite, 2015), a digital only album that gathers three long compositions: 1) Life Itself, recorded in december 2013, on which the leader, on acoustic and electric bass, piano, Rhodes, guitar and harmonium, was accompanied by Rashida Black (harp), Ben Boye (piano, Pianet), Ari Brown (tenor sax), Hamid Drake (drums), Tony Herrera (trombone), Marquis Hill (trumpet), James Sanders (violin, viola) and Joshua Sirotiak (tuba); 2) A Place Called Pluto, recorded in may 2013, on which the leader, on acoustic bass and piano, played with Emmett Kelly (electric guitar) and Frank Rosaly (drums); 3) The Interrupters, recorded in december 2010, with the leader, on acoustic and electric bass, MPC1000, piano, Wurlitzer, drums and percussion, accompanied by Jason Adasiewicz (vibraphone), David Boykin (bass clarinet), Nicole Mitchell (flutes), Jeff Parker (electric guitar) and Tomeka Reid (cello). Abrams composed this music for film score and documentaries.

Leo releases three CDs by the more and more prolific Ivo Perelman. Butterfly Whispers (recorded in july 2015) documents a trio with pianist Matthew Shipp and drummer Whit Dickey, who collectively composed ten pieces, basically free interpreted. Villa Lobos Suite, recorded in may 2015 with violists Mat Maneri and Tanya Kalmanovitch, is a tribute to the famous Brazilian guitarist featuring, however, not Lobos compositions but ten untitled pieces by the trio. Complementary Colors collects ten pieces recorded in april 2015 with pianist Matthew Shipp. As for Shipp, let's mark The Conduct Of Jazz (Thirsty Ear, 2015), that features his Trio, with Michael Bisio on bass and veteran Newman Taylor Baker on drums; they recorded seven new tracks in april 2015.

Mats Gustafsson's The Thing comes back with Shake (The Thing, 2015), a studio album with the leader on tenor and baritone saxs, Ingebrigt Håker Flaten on electric and double bas, and Paal Nilssen-Love on drums and percussion. The album also features as guests Anna Högberg (alto sax) and Goran Kajfes (cornet). Recorded in june 2015, it collects seven new pieces.

Self-produced and ltd ed., In The Sea features ICP Orchestra's Tristan Honsinger on cello & voice, Nicolas Caloia on double bass, Joshua Zubot on violin and Isaiah Ceccarelli on drums. That trio recorded a fine home-made, limited edition quartet CD with Isaiah Ceccarelli added on drums. The quartet premiered this work of free chamber music in september 2015.

For Julia Wolfe's newest work, Anthracite Fields (Cantaloupe, 2015), the Bang on a Can All-Stars teamed up with SATB choir in a unique oratorio that commemorates the Pennsylvania coal miners whose work fueled the industrial revolution. This work, extensively described here, was written after extensive research about life in the Pennsylvania coal fields where the purest form of coal, anthracite, is found. The five pieces she composed (among which the 20-minute Foundation), were performed by a lineup comprising of Robert Black (bass), Ashley Bathgate (cello and vocals), The Choir Of Trinity Wall Street conducted by Julian Watchner, Ken Thomson (clarinet), David Cossin (drums), Mark Stewart (guitar and vocals) and Vicky Chow (piano and keyboards).

Recorded in may 2015, Mostly Other People Do the Killing's Mauch Chunk (Hot Cup, 2015) features the core trio with Moppa Elliott (bass), Kevin Shea (drums) and Jon Irabagon (alto sax), plus the new member, the pianist Ron Stabinsky, already featured in the previous Blue. The new seven tracks sports a chamber jazz with interesting piano/sax duos, bossanova, soul and bop themes, counterpointed and improvised.

On Monochromes (Bolt, 2015), Supersilent's Helge Sten delivers three works: the 14-minute Quads, the 16-minute title-track and the 22-minute Solitude Of Sounds, composed by Polish pianist Tomasz Sikorski. The pieces feature a dark sound based on sampling and slow time stretching, a “nuggets of electronic washes with a metallic sheen bearing embedded nuggets of brief pulsations", as say credits. Studio recorded in 2014.

The vinyl The Delaware River (NoBusiness, 2015) documents a studio quartet recording dating back to march 2014, by quartet of Bobby Bradford (cornet), Frode Gjerstad (alto sax, Bb clarinet), Ingebrigt Haker Flaten (bass) and Frank Rosaly (drums). The four tracks (among which the long-side Sailing Up The) feature a creative modern free jazz.

Pianist John Tilbury and percussionist Eddie Prevost recorded in november 2012 Spanish Fighters (Matchless, 2015), containing the namesake 37-minute suite performed as a live improvisation plenty of dynamic, refined dialogs.

Scorch Trio's drummer Frank Rosaly releases Malo (Utech, 2015), the follow-up of his first “solo” album Centering And Displacement. Recorded in february 2015, the CD collects five pieces, composed by Rosaly and performed on percussion, electronics, Kalimba, bowed cymbals and Leslie speaker. Through oscillators, effects and microphones, he proposes an unconventional sound, plenty of dark, improvised and droning atmospheres.

The Hurrah (Otoroku, 2015) documents the trio of Evan Parker (tenor sax), John Edwards (double bass), and Chris Corsano (drums). The vinyl, featuring two long-side untitled pieces, was recorded live in august 2014, with no editing or post-production.

Brazen Heart (Greenleaf, 2015) is a new album by Dave Douglas Quintet, on which the leader trumpeter leads Matt Mitchell (piano), Rudy Royston (drums), Jon Irabagon (tenor sax) and Linda Oh (bass). Recorded in february 2015, this CD features nine new compositions by the leader, plus two old spirituals, with a lyrical and melodic approach, also improvised, and balanced between solos and collective.

The ltd ed. Multiverse  (Peira, 2015) features Guillermo Gregorio on B-flat & alto clarinets and Paul Giallorenzo on prepared and unprepared piano. The eight pieces, recorded in february 2012, feature a chamber music basically improvised.

Larry Ochs (tenor and sopranino saxes), with Nate Wooley (trumpet), Pascal Niggenkemper and Ken Filiano (both on basses and effects) and Harris Eisenstadt (drums), recorded The Fictive Five (Tzadik, 2015), for which the founding member of the Rova Saxophone Quartet composed four new tracks, among which the 25-minute Similitude (for Wim Wenders) and the 22-minute By Any Other Name (for William Kentridge) in pure jazz style, recorded in december 2014. Ochs wrote the liner notes for the CD.

Krakow Nights (Not Two, 2015) features Peter Brotzmann (tenor & alto saxes, clarinet & tarogato), Steve Swell (trombone) and Paal Nilssen-Love (drums). This 74-minute set was recorded in february 2015. Among the four pieces, the 38-minute Full Spectrum Response.

Ches Smith's These Arches comes back with International Hoohah (ForTune, 2015). The drummer's lineup is the same of previous Hammered, with Tony Malaby on tenor sax, Tim Berne on alto sax, Mary Halvorson on electric guitar, Andrea Parking on accordion and the leaderh on drums & compositions. Recorded live in july 2012, the six tracks feature a mixing of jazz, dronings and progressive rock.

Before The Code (Trost, 2015) features the Ken Vandermark's group Made To Break in a new studio recording, dating back to november 2014. As always, this is a pure free jazz, with the leader on various reeds, Christof Kurzmann on electronics, Jasper Stadhouders on bass, Tim Daisy on drums. Three long pieces.

Vertigo (Northern Spy, 2015) is the Necks 18th album, featuring the namesake 44-minute suite. The current lineup is comprising of Tony Buck (drums/percussion/guitar), Lloyd Swanton (bass) and Chris Abrahams (piano/keyboards). The music this time is even more improvised than in previous releases.

Lee Ranaldo releases Ambient Loop For Vancouver (Important, 2015), recorded in 2004 and released as a single, full length track (54 minutes), with contributions from Alan Licht on guitar, Christian Marclay on turntables, and William Hooker on drums. Says the leader: “This slowly changing, low volume ambience has since been used in various performance, reading and installation situations over the years. On its own, played on repeat, it creates a quiet shifting atmosphere with certain musical elements returning in different formations across its almost one hour running time. This CD was originally only available packaged inside the 10th Anniversary edition of my first book Road Movies, which was published by Soft Skull Press in 2004. A recently discovered limited overrun of those original CDs is now being made available on its own for the first time”.

XE (Northern Spy, 2015) is the new album by Zs, whose founder Sam Hillmer is accompanied by percussionist Greg Fox and virtuosic avant-classical guitarist and composer Patrick Higgins. The five new tracks (two long, three brief) have been composed and recorded on the road across three European tours, after two and half years in the making.

September 2015:
US bebop saxophonist Phil Woods died on september 29 for complications of emphysema, at 84.

Guitarist John Scofield studio recorded in march 2015 Past Present (Impulse, 2015), leading a lineup along with  Larry Grenadier (double bass), Bill Stewart (drums) and Joe Lovano (tenor sax). he composed nine new pieces, whose themes interact with improvisations by his partners.

Tom Rainey trio, featuring the veteran drummer along with Ingrid Laubrock (saxes) and Mary Halvorson (guitar), releases Hotel Grief (Intakt, 2015), an album comprising of five tracks extracted from a live tour (notably the 17-minute title-track and the 19-minute Proud Achievements In Botany) in december 2013.

Barry Altschul's project 3dom Factor, featuring the leader drummer along with Jon Irabagon (tenor, soprano and sopranino saxes, flute) and Joe Fonda (double bass) releases Tales Of The Unforeseen (TUM, 2015) Recorded in february 2014. Three of the album's six compositions are free group improvisations (notably the 26-minute As The Tale Begins), with Altschul also performing the solo A Drummer's Tale.

Jon Irabagon also releases his Inaction Is An Action (self-produced, 2015), an album of solo sopranino sax. Recorded in december 2014, with this release he takes on the solo saxophone traditions of some of his personal influences such as Anthony Braxton, John Zorn, Evan Parker and Roscoe Mitchell. Another self-produced Irabagon's album is Behind The Sky, recorded in april 2014 with Tom Harrell on trumpet and flugelhorn, Luis Perdomo on piano, Yasushi Nakamura on bass and Rudy Royston on drums. It features 11 original compositions in the modern, mainstream jazz style.

Still Irabagon. He plays tenor and soprano saxes, along with Peter Evans (trumpets), Moppa Elliott (double bass) and Kevin Shea (drums & electronics) on Mostly Other People Do The Killing's new album Hannover (Jazzwerkstatt, 2015). Recorded live in february 2014, this is the latest al last MOPDTK album with Evans, now replaced by pianist Ron Stabinsky. Among the four long pieces, a 22-minute version of a track based on Gillespie's A Night in Tunisia and David Sanborn's Hideaway themes.

Ticonderoga (Clean Feed, 2015) is the namesake debuting album, inspired by John Coltrane's Live at the Village Vanguard Again, by the project created by Joe Morris (double bass), Charles Downs (drums), Jamie Saft (piano) and Joe McPhee (tenor and soprano saxes). Four pieces studio recorded in december 2014, the quartet having decided to develop a project under the influence of the Coltrane's album. The project name is a Mohawk word meaning “junction of two waterways”.

Distant Groove (FMR, 2015) documents the quartet of Fred Lonberg-Holm (cello), Louis Moholo-Moholo (drums), Frode Gjerstad (alto sax and clarinets) and Nick Stephens (bass), in a 4-part free studio improvisation (40 minutes) recorderd in 2013.

Lydia Lunch's project Retrovirus releases Urge To Kill (Widowspeak/Brava, 2015), live studio recorded in november 2014 by the vocalist along with Weasel Walter (guitar), Tim Dahl (bass) and Bob Bert (drums). Basically, Lydia reinterpreted many of her old songs, plus a 8-minute reworking of Suicide's Frankie Teardrop.

Still by Walter, Deadly Orgone Radiation project's Power Trips (Copepod, 2015) features Guapo's James Sedwards on guitar, Alex Ward on guitar & alto sax and Weasel Walter on drums. The six pieces are basically improvised.

Eddie Chadbourne (various stringed instruments), with later lamented Ed Cassidy and Sunny Murray (both on drums), Peter Kowald (bass), Derek Bailey (guitar) and Walter Malli (soprano sax), release The Sounds Of Genius (Chadula, 2015), a very old recording with seven pieces dating back to 1992.

Hommage à Eberhard Weber (ECM, 2015) is a recording of part of the 75th birthday jubilee tribute two-day concert to the German bassist, held in january 1975 and performed by Pat Metheny (guitars), Jan Garbarek (soprano sax), Gary Burton ( vibraphone), Paul McCandless (oboe and soprano sax), Scott Colley (double bass), Danny Gottlieb (drums), plus the SWR Big Band conducted by Mike Gibbs. The bassist has not been able to play, since suffering a stroke in 2007. The concerts centered around a specially commissioned 35-minute suite by Pat Metheny, the rest being arranged around recordings of Weber's solos.

The 6CD boxset (plus DVD) Extended Duos (Audiographic, 2015) documents Paal Nilssen-Love (drums) and Ken Vandermark (various reeds) in their eighth collaboration, but for the first time along with guests: Mick Beck and Akira Sakata (both on reeds), Tamaya Honda (drums), Jim O'Rourke (guitar), Masahiko Satoh (piano) and Michiyo Yagi (koto). The 23 live duos they composed consist of long-CD suites recorded between october 2011 and june 2014.

The 2CD set Song For A New Decade (TUM, 2015) documents the trio of William Parker (double bass), Andrew Cyrille (drums) and Finnish saxophonist Mikko Innanen (alto and baritone saxes, Indian clarinet, Uilleann chanter, nose flute, whistles, percussion) in two CD-long session, the first studio recorded in january 2010, the second live recorded in june 2012. The eight studio tracks were composed by Innanen, whereas the six live pieces documents lenghty collectively improvised “songs”, without the bassist.

The Puzzle (Whaling City Sound, 2015) is the second production of Dave Liebman latest project Expansions, after their debuting Samsara. With the same lineup: the leader on soprano sax and wooden recorder; Matt Vashlishan on clarinet, flute, alto sax, straw and EWI; Bobby Avey on acoustic piano and electric keyboard; Tony Marino on basses; Alex Ritz on drums. This album is more much improvised than the previous, with many solos. The eleven pieces were recorded in spring 2015.

Blue Buddha is a new project created by a quartet comprising of Dave Douglas (trumpet), Bill Laswell (bass), Tyshawn Sorey (drums) and American saxtenorist Louis (or Louie) Belogenis, on stage since 1990. They debuted with a self-titled, recorded in february 2015, and featuring seven pieces basically improvised in studio.

John Zorn's Inferno (Tzadik, 2015) features John Medeski on organ, Matt Hollenberg on guitar and Kenny Grohowski on drums. The third CD from Zorn's new instrumental ensemble is inspired by the work and thought of Swedish playwright, poet, painter, philosopher, novelist, alchemist and occultist August Strindberg. The seven pieces, among which the 21-minute namesake suite, feature metal, jazz, minimalism, atonality, ambient and more. Recorded in may and june 2015.

The 7CD box-set Candy (PNL, 2015) documents 36 live sets from 2007-2014 recorded around the world by the duo of Joe McPhee (clarinet, pocket trumpet, flugelhorn, soprano, alto and tenor saxes) and Paal Nilssen-Love (drums, percussion). Among this tour de force, let's mention the 8-part suite Molde (55 minutes) and the 6-part suite Palm Tavern (53 minutes).

The vinyl Untitled (No.7) (God, 2015) documents the latest Polwechsel performance, studio recorded in august 2012. Werner Dafeldecker's project features the leader on doublebass along with Michael Moser (cello), Burkhard Beins and Martin Brandlmayr (both on percussion). The quartet has built the three pieces starting from themes composed and developped with several improvisations. Still by Dafeldecker, Rydberg (Monotype, 2015) docuements a collaborations with Nicolas Bussmann, studio recorded in 2013 e 2014. The music, ambient/electronics oriented, was performed by Werner on function generator, electronics, Bussmann playing instead on sampler. Among the three pieces, notable the 20-minute Elevator.

Angels On The Edge Of Time (Angelica, 2015) features Lindsay Cooper on soprano sax & bassoon, Fred Frith on guitar, violin & radio, Gianni Gebbia on alto & soprano sax & bird calls and Lars Hollmer on accordion, melodica & keyboard. Recorded at the Angelica Festival Internationale in Italy (may 1992) by the “one-off” lineup, this is an until now unissued performance.

Organo Rinascimentale Non Temperato (still by Angelica, 2015) featuring Charlemagne Palestine on pipe organ playing a new version (quite one hour) of his classic Schlingen Blangen, recorded in may 2004. Original version, let'sa remember, was recorded in 1988 (71 minutes). The reworked piece features a cosmic drone, slowly expanding.

Ken Vandermark project Resonance Ensemble, featuring the leader on baritone sax and clarinet, Mikolaj Trzaska on alto sax and clarinet, Dave Rempis on alto and tenor saxes, Mark Tokar on bass, Waclaw Zimpel on clarinets, Michael Zerang and Tim Daisy on drums, Christof Kurzmann on electronics, Steve Swell on trombone, Magnus Broo on trumpet and Per-Åke Holmlander on tuba, comes back with Double Arc (Not Two, 2015). Their sixth release, one hour long piece in two parts, was recorded  after several reharsals in november 2013, and then mixed by the leader over more than one year. Here how Vandermark speaks about it: “It is the longest piece I’ve written since Collide, for the Territory Band and Fred Anderson in the summer of 2006. Like that composition, Double Arc features a guest joining an established ensemble - in this case the incomparable Christof Kurzmann performing on lloopp. Over the course of an hour it is possible to hear my interests in the variety of genres that had influenced me most until that stage: soundtracks from American action films of the 1970s; the early period of the New York School composers (John Cage, Morton Feldman, Earle Brown, Christian Wolff); the work of the “Midwest School” of improvising composers based in Chicago and St. Louis in the late 1960 through mid 1970s (particularly that of Julius Hemphill); the free jazz of the 1960s (both in America and Europe); 70s funk from the United States, Nigeria, and Ghana; “free improvisation” languages developed in Europe during the 1970s and 80s; the arrangements that Gil Evans created for Mile Davis in the 1950s. Though unintentional at the time it was composed, hearing Double Arc now with an objectivity provided by the year and a half between its creation and completion, it is evident to me that in many ways Double Arc can be perceived as a collection of genre studies... It is a concerto written for the creative brilliance of Christof Kurzmann, who did much, much more than rise to the challenges that I presented him. Double Arc is dedicated to Witold Lutoslawski, one of my favorite composers.

Still by Vandermark (clarinets and sax), but paired with bassist Barry Guy, Not Two releases Occasional Poems, a 2CD set studio recorded in november 2014. No credits nor infos are available at the moment.

The 4CD boxset Enough Still Not To Know (SOFA, 2015) documents a collaboration between John Tilbury (piano) and Keith Rowe (guitar and electronics). Studio recorded in july 2014 as a a video installation by Norwegian visual artist Kjell Bjørgeengen, the music, four CD-long tracks, is mostly improvised, the two exploiting a mutual understanding that dates back to '60s.

The 2CD set Kanreki (Not Two, 2015) gathers a stellar cast, featuring Steve Swell (trombone), Paul Flaherty (tenor sax), C. Spencer Yeh (violin and voice), Weasel Walter and Michael Vatcher (drums), Ken Vandermark (tenor sax), Magnus Broo (trumpet), Zara Acosta-Chen, Miguel Malla, Ned Rothernberg and Guillermo Gregorio (all on clarinet), Joe Williams and James Ilgenfritz (bass), Fred Lonberg-Holm (cello and electronics), Tom Buckner (voice), Darius Jones (alto sax) Omar Tamez (guitar), and Jonathan Golove (cello). Credited to Swell who composed the pieces in seven different settings, the set is comprising of: the 31-minute Dragonfly Breath, recorded live in may 2012; Essakane (may 2011); Schemata and Heuristics for Four Clarinets No. 1 (march 2014); News From The Upper West Side (january 2014); Splitting Up is Hard To Do (september 2012); Live at the Hideout, presented in three live performances (august 2012); the 22-minute Composite No. 8 (december 2012).

Saxophonist Larry Ochs and drummer Donald Robinson present their first duo album: The Throne (Not Two, 2015). Studio recorded in july and september 2011 with Ochs on tenor and sopranino, the nine pieces start from melodic themes composed, and progressively developped by the two.

This Is Our Language (Not Two, 2015) features Rodrigo Amado on tenor sax, Joe McPhee on alto sax & pocket trumpet, Kent Kessler on double bass and Chris Corsano on drums. The five tracks were studio recorded in december 2012. Portuguese saxist Rodrigo Amado is on stage since early 2000, leader of several bands, he also collaborated with Gerald Cleaver and Taylor Ho Bynum.

New Forecasts From The Third Ear Almanac (Gonzo, 2015) is an unissued and limited edition official tape (but, be careful, not a bootleg) live recorded by the Third Ear Band in january 1989. At that time, the lineup was comprising of  Glen Sweeney (drums), Lyn Dobson (flute and alto sax), Mick Carter (guitar) and Ursula Smith (violin). Four lenghty pieces, among which the well known Egyptian Book of the Dead and Third Ear Raga.

August 2015:

Welcome Back (Intakt, 2015), studio recorded in april 2015, features drummer Han Bennink and pianist Irene Schweizer on their second experience. Ten new mostly brief pieces and some jazz covers (among which the Thelonius Monk's Eronel), whose themes are quickly outlined to give more space for improvisations.

The CDR Ulrichsberg (Confront, 2015) sees the project Contest Of Pleasure, formed by Axel Dorner (trumpet), Jean-Leon Pallandre (phonographies, microphones), John Butcher (saxes), Laurent Sassi (phonographies, mixage et diffusion) and the leader Xavier Charles (clarinet) who created the project since 1999. In a live 2009 concert, they premiered the one hour suite The Contest Of (More) Pleasures. Let's remember the project's sessionography: the self-titled album (august 2000), Albi Days (march/april 2005), and Tempestuous (november 2006).

The cassette Bloom (Astral Spirits, 2015) documents the duo of Oneida's Kid Millions (drums) and Borbetomagus' Jim Sauter (tenor sax) in two studio sessions recorded in february and april 2014. This is the follow-up of their vinyl Fountain. The cassette features a mixing of free jazz, noise, rock and more.

Live at the Boston Jazz Workshop (Hi Hat, 2015) documents the Herbie Hancock Septet (Bennie Maupin, Eddie Henderson, Julian Priester, Buster Williams and Billy Hart) in a performance recorded in march 1973, from which were extracted two long tracks, for 63 minutes.

Mary Halvorson's solo guitar Meltframe (Firehouse 12, 2015) documents a studio session recorded in november 2014, when the guitarist reworked ten jazz covers by, among others, Ornette Coleman, Annette Peacock, Carla Bley, Duke Ellington, McCoy Tyner and Roscoe Mitchell.

Stolen Moment (Ictus, 2013) documents a collaboration between Andrea Centazzo (percussion) and Marilyn Crispell (piano). The two rercorded in april 2012 a studio improvised session, from which were extracted four long pieces. Still by Crispell, Babel released Parallel Moments, another duo collaboration, this time with Raymond MacDonald (alto and soprano saxes). Studio recorded in november 2010, the album features ten tracks, basically improvised.

NoBusiness restores John Carter's Echoes From Rudolph’s, a 2CD set originally released on vinyl by Ibedon. Studio recorded in september 1976 and july 1977 (first CD), and in march 1977 (second CD), the album features the leader on clarinet and soprano sax, Stanley Carter on bass, William Jeffrey on drums, Chris Carter on cymbal and Melba Joyce on vocals.

Emanem releases Last Tour by the Steve Lacy Quintet. These quite 80 minutes document a live recording dating back to march 2004, when the leader (soprano sax and recitation), along with vocalist Irene Aebi, trombonist George Lewis, bassist Jean-Jacques Avenel and drummer John Betsch, performed a concert from which were extracted eight lenghty tracks, all previously unissued.

Trance Map is a special CD-R ltd ed. by Evan Parker (soprano sax), with the collaboration of Matt Wright (turntable, computer) and Toma Gouband (percussion). The eight untitled tracks, produced by the Huddersfield Contemporary Music Festival, were recorded in january 2013.

The 2CD set SQID (Mikroton, 2015) documents the namesake quartet, formed in 2011 by Burkhard Stangl (guitar, devices), Angelica Castello (paetzold flute, cassettes, radios, toys, ukulele), Mario de Vega (electronics) and Attila Faravelli (electronics through modified speakers). They recorded in august 2014 thirteen field recordings, mixing ambient noise, soundscapes and improvisations, also using bells, recorders, cassette players, toys, acoustic and electric guitars plus a battery-powered amplifier as well as "unstruments" such as, for instance, converted toy engines, tiny sine-wave generators, transducers, gadgets, and high-frequency electromagnetic field detectors. Found materials and various "essences", including wood, glass, metal, stones, grass, earth, water or explosives, were also used as sound sources. The quartet captured all sounds by the microphones of the Italian sound nerd and field recording specialist Attila Faravelli.

Still by Mikroton, another 2CD set, Blage 3, documents a reduction (100 minutes) of a 5-hour studio uninterrupted improvisation by pianist Simon James Phillips, accompanied by Tony Buck (drums, percussion), Werner Dafeldecker (double bass), BJ Nilsen (electronics), Liz Allbee (trumpet) and Arthur Rother (guitar). The performance, recorded in 2011, features two untitled pieces, concrete and noise oriented.

Yelena Eckemoff Quartet's Everblue (L & H, 2015) features the leader pianist along with Tore Brunborg (saxes) Arild Andersen (the bassist composed two of the ten new pieces) and Jon Chistensen (drums). The album, sporting a melodic and sometimes minimalistic approach, with many improvisations, was recorded in september 2014.

The project Rydberg, formed by Nicholas Bussmann (sampler, electronics) and Werner Dafeldecker (function generator, electronics) debuted with a self-titled release by Monotype. In august 2013 the two recorded three long pieces.

The same label also releases Um Em Um by Alfredo Costa Monteiro, that sports the namesake suite, performed on accordion and objects and recorded in november 2014. So presented by the musician: “Um em um assembles different techniques I’ve been working with for many years, giving them a status of material for improvisation and composition. The piece is deliberately contained, linear and constructed by layers, with the aim to give the possibility to the listener to converge on each of its parts, with a sense of the detail. Microphones have been placed in a way to enhance the harmonics and all the particularities of every sound... is somehow a step backwards in terms of visualisation and appreciation of my musical direction, but not in terms of audacity”.

The True Discoveries Of Witches And Demons (Tzadik, 2015) is the second release by John Zorn's project Simulacrum, featuring Trevor Dunn (bass), John Medeski (organ), Marc Ribot (guitar), Abraxas' Kenny Grohowski (drums) and Cleric's Matt Hollenberg (guitar). Zorn composed ten new pieces.

Solo (Palmetto, 2015) documents seven studio performances on piano by Fred Hersch, some of them completely reworked in trios from their originals. Recorded live at a church in the summer of 2014.

The 3CD Set For Those Who Are, Still (Aum Fidelity, 2015) documents a William Parker's free jazz celebration of Martin Luther King and Fannie Lou Hamer. This previously unissued music was recorded by different lineups at different dates. Disc One includes ten pieces, among which the 28-minute For Fannie Lou Hamer, recorded in october 2000, the rest having been recorded in march 2011; the leader bassist played with Todd Reynolds (violin), Shiau-Shu Yu (cello), JD Parran and Sam Furnace (both on various winds), Ravi Best (trumpet), Masahiko Kono (trombone), Kathleen Supové and Eri Yamamoto (both on piano), Nicki Parrot (bass), Leena Conquest (voice), Darryl Foster (soprano & tenor saxes), JT Lewis (drums) and Jim Pugliese (percussion). The six pieces of CD 2 (notably the 20-minute The Giraffe Dances) were recorded in january 2012 with Sangeeta Bandyopadhyay (voice, electronic shruti box), Mola Sylla (voice, m’bira, ngoni), Bill Cole (double-reed instruments), Rob Brown (alto sax), Klaas Hekman (bass sax, flute), Cooper-Moore (piano) and Hamid Drake (drums). CD 3 features the composition Escapade For Sonny (25 minutes), a trio improvisation performed by the leadfer along with Charles Gayle (tenor sax) and Mike Reed (drums), that preceded the premiere of the ten-part suite Ceremonies For Those Who Are Still (november 2013), with the same trio accompanied by the NFM Symphony Orchestra, conducted by Jan Jakub Bokun with Soloists of NFM Choir.

Still by Parker, Aum Fidelity also restores The Peach Orchard, a 2CD set by his project In Order To Survive. This multisession album was recorded between february 1997 and august 1998, and is the second by this Parker's project. The quartet is comprising of Cooper-Moore (piano), Rob Brown (alto sax) and Susie Ibarra (drums). The eight lenghty pieces (notably the 25-minute Leaf Dance) feature an avantgarde jazz, with solos and collective moments. Previously, this project recorded Compassion Seizes Bed-Stuy (december 1995), while the latest, and possibly the last, album has been Posium Pendasem (april 1998), the lineup being always the same.

Also, Parker, on contrabass violin, sintir and bass shakuhachi, joined Parrhesia, the trio created by cornetist Stephen Haynes along with guitarist Joe Morris and percussionist Warren Smith (with also guest Ben Stapp on tuba), to release Pomegranate (New Atlantis, 2015), recorded in march 2013 and featuring six extended pieces (notably the 17-minute Becoming). The release was conceived as a tribute to Bill Dixon, with which Haynes collaborated for 40 years. For this album, Haynes followed strictly specific instructions by Dixon with regards to tributes: “If you want to pay tribute to me, you should be doing your own work. If you have really paid attention to me, then you will understand that”.

Le Bebé De Brigitte (Lost in Translation) (Aum Fidelity, 2015) features Darius Jones on alto sax & compositions, Matt Mitchell on piano & Fender Rhodes, Sean Conly on bass, Ches Smith on drums & percussion and Emilie Lesbros on vocals. This is the 5th installment in his expansive Man ish Boy epic, that began in april 2009, when he premiered Man ish Boy and shall eventually comprise nine albums.The leader so presents his work: “True communication is the point of my music. I’m exploring communication not only as an outward expression of ideas, but an inward investigation of my own motivations and inspiration. As human beings I believe we are of one soul vibrating at different frequencies to manifest our individual realities. When we get outside our comfort zones we feel the discomfort from the unknown because we don’t know where we belong, where to step. In that lack of knowing, we actually begin to surprise ourselves. We begin to open up, and our perspective widens. We see and understand things we didn’t before. I believe that this makes us more patient and compassionate, which can break down barriers of hatred and fear. These are the ideas musically at work within this album.” Le Bebé De Brigitte is the follow-up of Oversoul Manual, fifteen pieces he recorded in march 2014 for an album that featured a vocals (only) quartet.

Resounder (Singlespeed, 2015) features Aram Shelton on alto sax & processing, Fred Lonberg-Holm on cello, guitar & electronics and Frank Rosaly on drums & percussion. The eight tracks of this studio album were recorded in june 2014, featuring an electroacoustic jazz, mostly improvised with hybrid styles.

Invisible Things, the project created by U.S. Maple guitarist Mark Shippy and Parts & Labor's drummer Jim Sykes, releases Time As One Axis (New Atlantis, 2015), the follow-up of their first album Home Is The Sun. The vinyl features eight new pieces, whose abstract sound is heavy and noise, but sometimes also melodic. Recorded in november 2014.

Seijaku, the trio of guitarist Keiji Haino, bassist Mitsuru Nasuno and drummer Yoshimitsu Ichiraku, comes back with the 2CD set After Seijaku, that marks a turn in their sound, the three also playing electronics, in a two-hour namesake suite, whose sound is often meditative and intricate. Recorded in november 2014. Lert's remember that previously, the same project trio recorded in december 2012 Last Live, another 2CD set featuring a dark sound more rock oriented, without electronics (the leader was also on flute).

July 2015: Japanese jazz pianist Masabumi Kikuchi, on stage since 1970 and better known with his nickname Poo, died on july 7, at 75. He worked with Bill Evans, Lionel Hampton, Sonny Rollins, Woody Herman, Mal Waldron, Joe Henderson, McCoy Tyner, Elvin Jones, Miles Davis, Billy Harper, Paul Motian, etc. His last album, Sunrise (ECM, 2012) was recorded in september 2009 with Paul Motian and Thomas Morgan.

Mission In Space
(ScienSonic, 2015) features Scott Robinson's lineup Spacetette, with the leader on theremin, clarinets, French horn, tenor sax, etc., veteran (91!) Marshall Allen on alto sax & EVI, Henry Grimes on bass & violin, Pat O'Leary on bass & cello and Kevin Norton on vibes & drums. The label presents it extensively. ? (ScienSonic, 2015) features instead Julian Thayer on basses, Hammond organ & bass marimba and Scott Robinson on tenor & slide saxes, clarinets, vibes, theremin, organ. This is a collection of thirty duets, mostly under four minutes.

(Nonesuch, 2015) documents the namesake Tyondai Braxton's project debuted in 2013 with the leader and Ben Vida on sysnthesizers, accompanied by Chris Thompson, Matthew Smallcomb and Yuri Yamashita on percussion. Their performances, described as "part architectural installation and part ensemble performance with five musicians sitting cross-legged atop their own space-age oval pods", were collected in a 42-minute eight movement suite, after over two years of recording live sessions.

Lake Monsters (Balance Point Acoustics, 2015) documents seven electric guitar duets between Henry Kaiser and Sandy Ewen, recorded in a six-hour session of november 2013. Kaiser also was on acoustic guitar. Among the pieces, played with massive use of distortions and improvisations, let's mention the 22-minute Irizima.

Charlie Hunter Trio, featuring the leader on 7-string guitar, Bobby Previte on drums and cymbals, and Curtis Fowlkes on trombone, releases Let The Bells Ring On (self-produced, 2015). The album was recorded in february 2015.

At Ad Libitum (ForTune, 2015) features Trevor Watts on alto & soprano saxes and Veryan Weston on piano. Recorded live in october 2013. This is their fourth duo CD, the first one was from 2001.

Encore (ECM, 2015) collects 13 live recordings between 1990/2007 by Eberhard Weber (double bass and keyboards), performed with veteran flugelhornist Ack van Rooyen and then studio mixed and edited.

The trio of John Butcher (acoustic and amplified saxes), Burkhard Beins (amplified 28" concert bass drum, electronics) and Mark Wastell (amplified 32" paiste tam-tam) releases Membrane (Confront, 2014). Recorded in april 2014, it features the namesake 39-minute suite, mostly improvised in a mixing of minimalism, clanging sounds and dark ambient music.

Corbett vs. Dempsey releases 1971, that collects unreleased material by Peter Brotzmann (tenor sax), Fred Van Hove (piano) and Han Bennink (drums, percussion). The three pieces (notably the 26-minute Just For Altena) were recorded in february and june 1971.

Echoic Enchantment (Discus, 2015) documents the namesake Martin Archer's suite composed and recorded between summer 2013 and spring 2015 along with Bo Meson, and also performed with a large ensemble, comprising of four percussionists, a quartet vocals, a string trio, Philip Thomas on prepared piano, Simon H Fell on double bass. The leader, on clarinet, organ and electronics, presents extensively here his work.

Evan Parker (soprano and tenor saxes), Joe Morris (guitar) and Nate Wooley (trumpet) recorded Ninth Square (Clean Feed, 2015). Live recorded in concert in september 2014, it features six pieces collectively improvised, and presented here by the label.

The cassette Vortice O The Faun (Astral Spirits, 2015) documents a 18-piece work by Rob Mazurek, entirely constructed through electro-acoustic means, using hundreds of samples, joined to electronics utilizing oscillators and modules. Mazurek was accompanied by Thomas Rohrer on rabeca (i.e. a Brazilian viola). This multisession work was recorded between 2014 and 2015.

Akra Kampoj (New Atlantis, 2015) documents the guitar duo of Elliott Sharp and Scott Fields. The two created tones and textures from unprocessed electric guitars sounds. The lenghty eight pieces were recorded in july 2014.

Strange Celestial Road (Celestial, 2015) restores and old, ultrarare and forgotten Sun Ra's vinyl, a studio session originally released by Rounder with three long pieces written by the leader and recorded at a date in 1979. The lineup: the leader on keyboards, Richard Williams and Steve Clarke on bass, Luqman Ali and Reg McDonald on drums, Vincent Chancey on French horn, Skeeter McFarland and Taylor Richardson on, Danny Ray Thompson, Eloe Omoe, Hutch Jones, James Jacson, John Gilmore, Kenny Williams, Marshall Allen, Noel Scott and Sylvester Baton all on various saxes, Craig Harris and Tony Bethel on trombone, Curt Pulliam, Michael Ray and Walter Miller on trumpet, Damon Choice and Harry Wilson on vibes. June Tyson and Rhoda Blount on vocals.

Never Were The Way She Was (Constellation, 2015) documents a collaboration between saxophonist Colin Stetson and emergent Canadian violinist Sarah Neufeld. The vinyl sports eight pieces written and performed with no overdubs nor loops by the leader on tenor and bass saxes and contrabass clarinet; Arcade Fire's violinist Sarah Neufeld was also on voice. Extensively presented here by the label.

Taku Sugimoto/Manfred Werder (Slub, 2015) documents a 51-minute performance recorded live in october 2014 by the Japanese guitarist and Swiss pianist and minimalist composer. The two improvised a "solo field recording" composition.

Homage To Sun Ra (Ruby, 2015) features Dick Griffin on trombone, Marshall Allen on alto sax & kora, Bennie Maupin on alto flute, bass clarinet & soprano sax, Danny Ray Thompson on baritone sax, Donald Smith on piano, Cecil McBee on bass and Nasheet Waits on drums. The release, though, covers just two Sun Ra songs, the rest featuring Griffin's compositions.

Valentines (Confront, 2015) documents the first meeting of Jason Kahn (analogue modular synthesizer, mixing board, radio) and Phil Julian (analogue modular synthesizer, computer), intended to be recorded as material for studio sound compositions, but which was so compelling as improvised work that they chose to release the album as recorded (february 2012). Three improvised and untitled pieces.

Some Places Are Forever Afternoon (Songlines, 2015) features Wayne Horvitz on piano, Hammond organ, electronics & compositions, Ron Miles on cornet, Sara Schoenbeck on bassoon, Peggy Lee on cello, Tim Young on guitar, Keith Lowe on bass and Eric Eagle on drums. With this release Horvitz composed these eleven pieces, paying tribute to Northwest poet Richard Hugo (1923-1982). He organized a fine seven-piece ensemble with musicians he has worked with in the past, time and again. Recorded in january 2015.

Harris Eisenstadt's September, Canada Day IV (Songlines, 2015) was recorded january 2015, with the leader on drums, Nate Wooley on trumpet, Matt Bauder on tenor sax, Chris Dingman on vibraphone and Pascal Niggenkemper on bass. The drummer so speaks about it: "For Canada Day IV I wanted to go deeper into the possibilities of solo, duo, trio and quartet spaces within the ensemble. And rather than have stand-alone small group pieces, I decided to incorporate these different pieces into larger wholes, to keep shifting amounts of sonic information, weight and scope. As for my drumming, I continue to draw inspiration from non-drumset rhythm concepts, polyrhythmic traditions of Africa and the Diaspora, and particularly Cuban bata drumming these last five years".

With Friction (Clean Feed, 2015), cellist Daniel Levin Quartet leads his quartet with Nate Wooley on trumpet, Matt Moran on vibes and Torbjorn Zetterberg on bass. Recorded in april 2015, this album features chamber music compositions with many improvisations.

One Night Stand (Gonzo, 2015) is an album by WMWS (whose name originated by members  initials), a short-lived English group formed in spring 1973 by Robert Wyatt (drums & vocals, ), Dave MacRae (electric & acoustic piano), Gary Windo (tenor sax) and Richard Sinclair (bass guitar). The group never recorded studio, playing only a handful of live gigs of totally improvised music. From one april 1973 concert, later mixed and edited studio, was extracted a 48-minute track.

June 2015:
Ornette Coleman, one of the most influential jazz musicians and composers of ever, the father of free jazz, died on june 11 at 85 after a stroke.

American composer, musician and conductor Gunther Schuller died of leukemia on june 21, at 89.

Skullduggery (Clean Feed, 2015) documents a collaboration recorded in june 2014 by Joe McPhee (pocket trumpet and alto sax) and Universal Indians, i.e. the trio consisting of John Dikeman (saxes), Jon Rune Strom (double bass) and Tollef Ostvang (drums). The four lenghty pieces sport a pure free jazz approach. The Dikeman trio debuted on stage with Nihil Is Now, recorded in june 2011.

Shots (Hatology, 2015) is a restored studio vinyl recorded in october 1977 and credited to Steve Lacy trio, comprising of the leader on soprano sax, Masa Kwate on traditional Japanese percussion and Irene Aebi on voice and violin. Originally released by the French Musica label, this album features eight pieces. While Masa Kwate name is otherwise unknown in music, Irene Aebi worked in several other Lacy's albums and projects, among which Tips, originally released by HatHut and recently restored by Corbett vs Dempsey. Tips was a suite of tunes composed by Lacy and recorded in december 1979, also featuring Steve Potts on alto sax.

Alternating Current (Grizzley, 2014) features Jeff Cosgrove on drums, Matthew Shipp on piano and William Parker on bass. The three pieces consists of two improvisations (the title-track and the 39-minute Bridges Of Tomorrow), whose themes was composed by Mr. Cosgrove, and a remake of  Paul Motian's Victoria. Recorded in november 2013.

Cocredited with drummer George Marsh (the two worked together since 1975), Denny Zeitlin's Riding the Moment (Sunnyside, 2015) was recorded in 2013 and 2014, featuring Zeitlin also on sythesizer. The duo composed twelve new avantgarde jazz pieces, for 77 minutes.

The 3CD Set Stockholm Connection (Umlaut, 2015) collects unreleased musical collaborations between saxtenorist Swedens Bengt "Frippe" Nordstrom (well known for having recorded the first two Albert Ayler's albums) and accordionist and drummer Sven-Ake Johansson (who also directes an orchestra) in a trio along with pianist Alexander Von Schlippenbach. The sessions are comprising of: CD1, recorded in march 1970, that features Rotationer F”r Stor Orkester; CD 2, featuring five pieces (notably the 25-minute Rutig) recorded in november 1977; CD 3, recorded in march 1982, featuring four pieces (notably the 26-minute Eksjo).

Vintage Visionary Vignettes (Ra-Kalam, 2015) is a cassette that collects 17 rare duets and trios, all from the seventies. The five small ensembles feature Bob Moses on drums, percussion & bass clarinet with vocalists Jeanne Lee & Sheila Jordan, John Clark (French horn), Bob Stewart (tuba), David Gross (alto sax), Harvie Swartz (bass) and Daniel Carter (trumpet & alto sax). Among the pieces, a couple of Thelonius Monk's pieces: Monk's Mood and Brilliant Corners.

Autumn (FMR, 2015) features Paul Dunmall on tenor & alto saxes and Tony Bianco on drums. This duo set was recorded in november 2014. Stands out the 27-minute title-track.

After a lot of collaborations as sideman, mainly with Nate Wooley, Peter Evans and Joe Morris, drummer Mike Pride releases finally his first credited "solo" album, Listening Party (Akord, 2015). Recorded at a date in New York after having worked on it since several years, the CD features 18 (mostly brief) pieces with massive use of percussion instruments, studio creations, glockenspiel etudes & drum set improvisations. Pride currently leads modern-jazz quartet From Bacteria To Boys, the 7-drummer installation-band Drummer's Corpse, and the piano trio I Hate Work.

Emanem restores two forgotten albums by Iskra 1903, well known trio comprising of Barry Guy (double bass), Derek Bailey (guitar) and Paul Rutherford (trombone). Buzz Soundtrack was recorded at various dates in 1970 and 1971 for a Michael Grigsby's film. Liner notes by label owner Martin Davidson speak about it as a "not typical Iskra 1903 session". First release dates back to 2002, when Emanem found the tapes. Instead, the 3CD set Chapter One 1970-1972 restores a classic concert and studio performances (Rutherford also played piano on some of them). CD1 collects five improvisations recorded in september 1970, notably the first (21 minutes) and the fifth (25 minutes). CD2 and CD3 mix studio and live performances. The three pieces named Extra on CD3 are studio performances until now unissued, recorded in 1971. The other sessions were held in 1972.

Gomory (Tzadik, 2015) features the 25th Book of Angels, performing Masada compositions by John Zorn. Recorded at a date in 2015, the album collects eleven pieces performed by Mycale, i.e. the cappella vocal quartet of Ayelet Rose Gottlieb, Sofia Rei, Sara Serpa and Malika Zarra.

Full Circle Sounding (Kye, 2015) features the new LP by Montreal-based composer, improviser and violinist Malcolm Goldstein. This album sports the complete recording of Goldstein's headline set at the october 2014 Kye Festival: Judson Piece #6 and But One Bird Sang Not and Sheep Meadow (both with improvised violin extensions), plus an additional new studio improvisation, Soundings.

Hello, I Must Be Going (Victo, 2015) was recorded live in may 2014 by Fred Frith (electric guitar) and Evan Parker (tenor and soprano saxes). From the concert the unusual duo held, the label extracted four pieces (three of them above 17 minutes), basically improvised.

The DoLP Magnetoception (Eremite, 2015), credited to Joshua Abrams, features the leader on guimbri, bass, celeste, clarinet, small harp, bells; Hamid Drake on frame drum, tabla, conga, trap kit; Emmett Kelly and Jeff Parker on electric guitars; Lisa Alvarado on harmonium; Ben Boye on chromatic electric autoharp. Live studio recorded in february 2013, this avantgarde jazz album also mixes folk, minimalism and world music.

The 3CD Set A Space Odyssey (Fantastic Voyage, 2015) collects sixty Sun Ra's compositions compiled and annotated by music journalist Kris Needs. CD 1 includes tracks recorded from 1933-1959, CD2 tracks recorded in 1956, CD3 tracks recorded 1958-1961.

ESP restores Iron Path, the forgotten debuting album by Peter Broetzmann's Last Exit. The lineup, formed by the reedist along with Bill Laswell (bass), Roland Shannon Jackson (drums) and Sonny Sharrock (guitar), debuted with a self-titled (february 1986). The same month the group recorded for ITM Koln (released in 1990 only), a mixing of blues, jazz and avantarde, enlightened by the 19-minute Hard School, collectively composed. Then was the time for the live The Noise Of Trouble (october 1986), that also featured Akira Sakata (alto sax) and Herbie Hancock (piano). The ESP reissue of Iron Path was recorded at a date and released in 1988 by Virgin, featuring the original quartet in ten brief themes of hardcore, surf and speed metal, heavily improvised. The quartet disbanded after their live and more free jazz Headfirst Into The Flames, recorded in 1989.

Still Broetzmann. Recorded in september 2012, Mollie's In The Mood is a ltd ed. vinyl autoproduced by the reedist, that documents a collaboration with vibraphonist Jason Adasiewicz. The two composed together three pieces (notably the 19-minute title-track), mostly improvised. The reedist is on alto and tenor saxes, clarinet and tarogato.

To Be Continued (Kye, 2015) is a previously unreleased performance, documenting the first meeting of Joe McPhee and John Snyder. Listen to Joe: "On a Sunday afternoon in the summer of 1973, a group of mostly non-professional musicians/music lovers, literally friends and neighbors came together to present a concert in a communal ritual, Ancient to the Future, for friends and neighbors at Holy Cross Monastery in West Park, NY. The Episcopal order graciously made their facilities available for concerts in 1968 and my first recordings for CJRecords -Underground Railroad in 1968. Just a few months earlier I met John Snyder, who had recently acquired an ARP2600 analog synthesizer and immediately the "what if" scenario of such a musical adventure moved from imagination to reality".

Recorded in may 2014 after five years in composing, The Kandinsky Effect (Warren Walker on sax and effects; Gael Petrina on bass and effects; Caleb Dolister on drums and percussion) released Somnambulist (Cuneiform, 2015) their third album the label extensively presents here.

The Chicago Reed Quartet, a new Ken Vandermark's project, releases Western Automatic (Aerophonic, 2015). The lineup features Nick Mazzarella on alto sax, Dave Rempis on alto, tenor & baritone saxes, Mars Williams on sopranino, soprano, alto & tenor saxes and the leader on clarinets, tenor & baritone saxes. Recorded between june and august 2014, their eight lenghty pieces (each of members composed two of them) feature a strong but also lyrical jazz sound.

Our Lady Of The Flowers (RogueArt, 2015) documents Declared Enemy, i.e. the Matthew Shipp quartet, comprising of the leader pianist along with Sabir Mateen (tenor sax and clarinet), William Parker (double bass) and Gerald Cleaver (drums). Recorded in june 2013, the nine pieces rarely though are collective, sporting instead mostly solos, duets and trios.

The Rempis Percussion Quartet releases Cash And Carry (Aerophonic, 2015), that celebrates their tenth anniversary with this august 2014 session, comprising of two lengthy pieces (the 39-minute Water Foul Run Amok and the 15-minute Better Than Butter). The music is mostly improvised. Let's remember the lineup: the leader on alto, tenor and baritone saxes; Ingebrigt H†ker Flaten on bass; Tim Daisy and Frank Rosaly on drums.

Pellucidar - A Dreamers Fantabula (Tzadik, 2015) is the fifth CD by Marc Ribot's The Dreamers, featuring, as always, the leader on guitar, Jamie Saft (keyboards), Kenny Wollesen (vibraphone), Trevor Dunn (bass), Joey Baron and Cyro Baptista both on drums. This album mixes soul, surf, jazz, minimalism, rumba, tango, samba and more. Recorded in february 2015.

Recorded in october 2014, High Risk (Greenleaf, 2015), by trumpeter Dave Douglas, features Jonathan Maron, on electric and acoustic bass, Mark Guiliana on electric and acoustic drums, and Shigeto on electronics. The seven pieces feature a mix of jazz and electronics.

Radical Empathy (Relative Pitch, 2015) features Thollem McDonas on acoustic piano with effects & modified electric piano, Nels Cline on electric guitar & effects and Michael Wimberly on drums. Recorded in february 2014. Their sound is "thriller" avantagarde and jazz oriented.

May 2015:

Revolutionary Ensemble's drummer Jerome Cooper, the last surviving member of Leroy Jenkins' trio, died after a lung cancer on may 6, at 68.

[Tomasz Stanko's retrospective - continuation from april]
Bosonossa And Other Ballads was recorded between march and april 1993 by another quartet, with Bobo Stenson (piano), Anders Jormin (bass) and Tony Oxley (drums). Stanko mostly drew a series of gloomy and refined atmospheres, also leaving space for solos by rhythm section; the pianist started his collaboration featuring a complementary contribution of creative counterpoints and intimate solos. An octet, also featuring a “feedback” quintet string section, recorded in june 1993 the soundtrack for the TV film A Farewell To Maria, a collection of thirteen brief pieces (among which the Gounod and Bach's Ave Maria), indulging in melodic, “easy” and pastoral themes. After a theatral version of Balladyna (april 1994), featuring themes from the 1975 album, and Matka Joanna (may 1994), another soundtrack album with Bobo Stenson (piano), Anders Jormin (bass) and Tony Oxley (drums), Stanko assembled a septet, along with Andrzej Jagodzinski (piano), Janusz Skowron (synthesizer), Slawomir Kurkiewicz (bass), Michal Miskiewicz (drums), Zbigniew Brysiak (percussion) ans Dorota Miskiewicz (vocals), recording in august 1995 Roberto Zucco, for Bernard-Mare Koltes' movie. The sixteen pieces create passionate and light atmospheres, also thanks to elegant Miskiewicz's singing. Leosia (january 1996) sports the same quartet of Matka Joanna. The mixing of post-bop and free jazz (even if Stanko's style is, as always, away from true dissonance) is dominated by the trumpeter's melancholic pursuit, supported by Stenson's romanticism; Stanko also steps aside to leave more space for rhythm section (on Brace and Trinity), and getting possibly to the peak on the ethereal No Bass. Litania (february 1997) featured a septet along with Bernt Rosengren (tenor sax), Joakim Milder (tenor and soprano saxes), Bobo Stenson (piano), Terje Rypdal (guitar), Palle Danielsson (double bass) and Jon Christensen (drums), and was dedicated to Krzysztof Komeda, whom were reworked eight pieces of. The album alternates between intimate solos by trumpet and piano and collective moments, the first more successful, as shown in the main title, the 22-minute Night-time, Daytime Requiem, dedicated to John Coltrane; also notable is the very dark atmosphere on The Witch. From The Green Hill (august 1998) was recorded by a sextet with John Surman (baritone sax and bass clarinet), Dino Saluzzi (bandoneon), Michelle Makarski (violin), Anders Jormin (double bass) and Jon Christensen (drums). One of his most “hard listening” (indeed little rewieved by critics), it features a mix of “jazzy” and bleak, dark atmospheres, emphasized by the bandoneon dialogues with Stanko and Surman. The thirteen variations of Soul Of Things (august 2001), performed by a quartet comprising of Marcin Wasilewski (piano), Slawomir Kurkiewicz (double bass) and Michal Miskiewicz (drums), mark another peak of Stanko's career. Trumpet and piano interlacements play complementary melodies, sometimes as lullabies, musicians exploit in these “variations” their flexibility, especially in III, IV and X, possibly the most meaningful moments. The same lineup came back in july 2003 with Suspended Night, presenting other ten “variations”. Each of them starts from a fragment of Song For Sarah, the first sad piece, to develop free variations balanced in times and interventions, even if, to work perfectly, this approach needs a continuous inspiration, as in III, IV and VI. Wolnosc w Sierpniu (that means “freedom in august”), recorded in september 2005, unfairly snobbed by critics for its shortness (28 minutes), breaks this trend for a commissioned work written to commemorate the 60th anniversary of the fight for Warsaw. With Tomasz Szukalski on tenor sax, Marcin Wasilewski on piano, Janusz Skowron on keyboards, Slawomir Kurkiewicz on bass, Michal Miskiewicz and Apostolis Antymos on percussion, and with an orchestra conducted by Marcin Nalecz-Niesiolowski, Stanko composed some melodic pieces of refined making, as Dee and above all the title-track, melancholic interludes (Hope Song), endless silences (the quite solo trumpet of Song of the Sewers). Lontano (november 2005), happily closes the “quartet phase” with the same lineup, producing a series of notable pieces that make this album one of Stanko's most “Miles Davis-ian”, as shown in Kattorna, Trista and Sweet Thing; Tale, the most brief, is possibly the peak. The three takes of the title-track feature the first evolving in pure free jazz and then in acoustic “fusion”, the second at first languid, then more and more free form, the third very experimental and post-jazz; Cyrhla introduces melancholic tones from trumpet and piano evolving in collective. A new quintet, with Alexi Tuomarila (piano), Jakob Bro (guitar), Anders Christensen (bass) and Olavi Louhivuori (drums), recorded in april 2009 Dark Eyes, an album with very frequent changes of time, that sports the spectacular Terminal 7 and The Dark Eyes of Martha Hirsch, two of Stanko's masterpieces, the second more “fusion”; Samba Nova is quite “new age”, and Stanko never is intrusive: the instruments are always in evidence in turn, and guitar adds a latino-american vein, as in Dirge For Europe. The 2CD set Wislawa (june 2012) debuted the Stanko's New York Quartet, with an all-US lineup: the cuban emergent David Virelles (piano), Thomas Morgan (double bass) and veteran Gerald Cleaver (drums). Inspired by the poetry of Wislawa Symborska, the Polish poet, essayist and Nobel Laureate died in 2012, the music switches from the sad title-track (whose final variation, on the other hand, is even more “funereal”) to the headlong Assassins; in Metafizyka, rhythm section, often in foreground, draws counterpoints over the trumpet's themes. Oni features one of his best examples of piano/trumpet inventiveness. Faces is the most collective and possibly successful moment. Feeling sound suggests itself various impressions, showing as Stanko has successful created his own style, combining great lineup's technique, which he leaves every freedom of expression to, until be, at times, superseded. Polin, the latest work, commissioned by the Museum of the History of Polish Jews in Warsaw, that also released the CD, was recorded in october 2014 by a quintet along with Dezron L. Douglas (double bass), Kush Abadey (drums), David Virelles (piano) and Ravi Coltrane (sax). The music of these five tracks is an ideal continuation of Wislawa, with a more sustained rhythm, more near to fusion than chamber music. This time, though, a certain repetitiveness and a less happy inspiration makes the album not very meaningful, as if that assign to this music its limits. Anyway, not many musicians arrived to a fifty-year long career still having something to tell, and Stanko can yet save for us big surprises.

Only Sky (ECM, 2015) is the David Torn new album in ten years, after the march 2005 Prezens, the project he created along with Tim Berne (alto sax), Craig Taborn (electric piano, mellotron, organ and electronics) and Tom Rainey (drums). Recorded in february 2014, Only Sky is instead a solo album, featuring the guitarist also on electric oud. Extensively presented here by the guitarist.

Now This (ECM, 2015) was recorded in july 2014 by the new Gary Peacock Trio the bassist rercently created along with Joey Baron (drums) and Marc Copland (piano). The eleven pieces, mostly by the leader, feature eclectic atmospheres, switching from lyrism to melodies, “bluesy” sounds and dissonant moments.

Entitled ?!, Pleasure of the Text label releases the first solo album by Paul Lytton since the 1979 The Inclined Stick. Nat Wooley presents it as “the culmination of decades of research into and experience of new modes of communication”. Lytton is on electronics and percussion, homemade instruments, laptop, percussive devices and objects, and composed eight pieces mixing ambient, electronics and concrete music. Recorded at a date in 2014.

Solos Bimhuis (Relative Pitch, 2015) features Joe Morris on solo acoustic guitar. He recorded it in two sessions, in october 2013 and october 2014. In this release, Morris continues to explore new ways of playing the guitar, mostly free form. Among the six pieces, let's mark the 26-minute Story. Still by Morris, his Spanish Donkey project, comprising of the leader on electric guitar, Jamie Saft on microtonal organ, synthesizers and echoplex piano, and Mike Pride on drums, releases Raoul (Rare Noise, 2015). The trio, after having debuted with XYX, recorded and released by Northern Spy in 2011, created here three impressive tracks (among which the 32-minute title-track), featuring a collection of distorted and droning sounds.

The 2CD set Galactic Parables: Volume 1 (Cuneiform, 2015) features Rob Mazurek's Exploding Star Orchestra, along with Nicole Mitchell on flutes & voice, Angelica Sanchez on piano, Jeff Parker on guitar, Matthew Bauder on tenor sax & clarinet, Matthew Lux on bass guitar, Guillerme Granado on keyboard, sampler & synth, Mauricio Takara on cavaquinho & electronics and Damon Locks on text & voice. Recorded live in august 2013, this ambitious work collects 11 new Mazurek's compositions (some very long, as the 20-minute Free Agents Of Sound and the 22-minute Make Way To The City), alternating melodic themes with collective improvisations.

Joe McPhee's Solos : The Lost Tapes (1980 – 1981 – 1984) (Roaratorio, 2015) collects in vinyl four long forgotten recordings from reedist's personal archive. Presented here by the label.

Fred Lonberg-Holm on cello and electronics, and Ken Vandermark on various reeds present Resistance (Bocian, 2015). Recorded live in 2013, the music is quite all improvised, with many solos, especially by Vandermark's sax.

Experiments With A Leaf (Unsounds, 2015) documents five pieces recorded live in a cathedral (october 2013) by John Butcher (saxes) and the Ex' Andy Moor (guitar). The music, exploiting the natural reverb, is varied and mostly improvised, with rare solos.

Henry Kaiser (guitar), Damon Smith (double bass) and Weasel Walter (drum kit) present Plane Crash Two (New Atlantis, 2015). Live studio recorded in april 2014, this is the second installment by the trio. From the studio session were extracted four long tracks, especially the 21-minute False Alarms.

Keith Jarrett's Creation (ECM, 2015) is his new solo piano in four years, since Rio. Here Jarrett collected nine live performances, selected and sequenced from his improvised solo concerts in Japan, Canada and Europe from april to july 2014.

Recorded in concert in november 2013, and then mixed by Fred Lonberg-Holm, Will It Float? (Va Fongool, 2015) documents the quartet of John Russell (guitar), Steve Beresford (objects & electronics), John Edwards (double bass) and emergent Stale Liavik Solberg (drums and percussion) in four tracks (four quite brief and the 21-minute title-track) of improvised themes, combined with the Beresford's electronics.

Another album recorded in concert in november 2013 is Wild Man Dance (Blue Note, 2015), by 77 years old Charles Lloyd. The saxtenorist composed this six-part suite (74 minutes) playing with an ensemble comprising of emergent pianist Gerald Clayton, lyre player Sokratis Sinopoulos, well known drummer Gerald Cleaver, cimbalom player Miklos Lucaks and US bassist Joe Sanders.

Leo releases three new CDs by Ivo Perelman. Tenorhood (recorded in march 2014) is co-credited with Whit Dickey, and features five pieces devoted to Hank Mobley, Ben Webster, John Coltrane, Albert Ayler and Sonny Rollins, plus the title-track, that's a drum solo. The 2CD set Callas (recorded in february and in march 2015) is co-credited with Matthew Shipp, and is dedicated to the memory of Greek diva Maria Callas. The most recent (recorded in march 2015) Counterpoint features a trio along with Joe Morris (guitar) and Mat Maneri (viola). The trio composed collectively a ten-part suite.

The 2 CD Set In For A Penny, In For A Pound (PI, 2015) documents the new album by Henry Threadgill's Zooid project, where the altoist (who also is on flutes) plays along with Jose Davila (trombone & tuba), Liberty Ellman (guitar), Christopher Hoffman (cello) and Elliot Humberto Kavee (drums & percussion). The six part of this chamber music work was premiered in december 2014. The label extensively presents here the release.

Cecil Taylor quartet, led by the pianist and comprising of Jimmy Lyons (alto sax), David S. Ware (tenor sax), Raphe Malik (trumpet) and Marc Edwards (drums), recorded in april 1976 a live performance, comprising of the pieces Petals (14 minutes) and the three part suite Wavelets (32 minutes), gathered in the CD Michigan State University, April 15th 1976 by the label Hi Hat.

Everything Here Is Possible (ASM, 2015) features Australian Alister Spence and Myra Melford, both on piano and prepared pianos. Recorded live in november 2012.

Pulverize The Sound is the new project created in 2011 by Peter Evans (trumpet), Tim Dahl (electric bass) and Mike Pride (various percussion and glockenspiel). Relative Pitch releases their first album, a self-titled comprising of six lenghty, undefinable pieces, mixing improvisations with loops, silences and a bit of rock.

Recorded in march 2014 and credited to the Sonoluminescence Trio, Telling Stories (Art Stew, 2015) features David Mott (who already recorded with Mark Dresser and Gerry Hemingway) on baritone sax, William Parker on contrabass and Jesse Stewart on drums. The session was recorded on a vintage 2" Ampex tape recorder.

River Run Thee (Constellation, 2015) is the chapter 3 of Matana Roberts 12-album project Coin Coin. This time the reedist made all alone, playing her alto sax along with synthesizer, upright piano (an early 1900s Archambault), improvised song and spoken word through multiple layers of field recordings. The twelve songs of this vinyl were recorded in june 2014. Still by Roberts, Relative Pitch releases Always, an ambitious “solo alto sax” recorded by the reedist in may 2014, comprising of two long untitled improvisations, 33-minute and 10-minute respectively.

The 3CD set 3 Nights At Cafe Oto (Matchless, 2015) documents live performances recorded in may 2013 by Evan Parker (tenor sax), John Edwards (double bass), Eddie Prevost (drums), Christof Thewes (trombone) and Alexander Von Schlippenbach (piano). Each CD features two very long compositions (above 30 minutes).

Sleepwalker's Conviction (Black Truffle, 2015) documents a 2014 performance by Oren Ambarchi in collaboration with a 20-piece ensemble conducted by Ilan Volkov and featuring members of the Adelaide Symphony Orchestra and Speak Percussion. The 40-minute suite features minimalisms and percussive textures.

The Curse Of Midnight Mary
(Family Vineyard, 2015) is a restored work by guitarist Loren Connors, recorded in march 1981 with a tape recorder. Lost and forgotten, a cassette of this music was found by chance in 2008. Nine pieces. Two Nice Catholic Boys (Family Vineyard, 2015) features Loren Connors and Jim O'Rourke on electric guitars, recorded on tour in Europe in 1997. The music balances Loren's loud feedback drone and the more “gentle” O'Rourke's sound. Three long pieces, especially the 22-minute Maybe Paris.

Credited to Bang On A Can All-Stars, Field Recordings (Cantaloupe, 2015) is a multi media project featuring up to 18 commissioned works by Tyondai Braxton, Mira Calix, Jace Clayton, Anna Clyne, Dan Deacon, Bryce Dessner, Ben Frost, Florent Ghys, Michael Gordon, Johann Johannsson, Glenn Kotche, David Lang, Alvin Lucier, Christian Marclay, Paula Matthusen, Richard Reed Parry, Steve Reich, Todd Reynolds, Jaroslaw Sliwinski, Daniel Wohl, Krzysztof Wotek, Julia Wolfe, Artur Zagajewski and Nick Zammuto. Says David Lang: “Field Recordings is a kind of ghost story. We asked composers from different parts of the music world to find a recording of something that already exists - a voice, a sound, a faded scrap of melody - and then write a new piece around it. And so they did”. The CD/DVD release features 13 world premiere works and 5 films.

The cassette La Hora Magica (Astral Spirits, 2015) documents improvised recordings between Boxhead Ensemble's leader Michael Krassner, Manishevitz's Adam Busch (both on guitars), Lofty Pillars' multi-instrumentist Wil Hendricks and Las Vegas Philharmonic violinist Laraine Kaizer. The record’s fourteen tracks extend a vein of american folk and ambient music.

Asunder, Sweet And Other Distress (Constellation, 2015) is the new LP by Godspeed You! Black Emperor. The four tracks (40 minutes overall), that makes it their first LP-length release until their first album, were recorded by the current lineup: Thierry Amar ( bass guitar, double bass), David Bryant (electric guitar, Portasound, organ, drones), Aidan Girt (drums), Timothy Herzog (drums and drones), Efrim Menuck and Mike Moya (electric guitar), Mauro Pezzente (bass guitar) and Sophie Trudeau (violin, drones). Composed and recorded through late 2013 and 2014. The music is plenty of noise, drones, overtones and crescendos.

April 2015:

One of the most eclectic Polish jazz and avantgarde composers and musicians, trumpetist Tomasz Stanko (1942) started very young his career since late '50s, and then formed in 1962 the group Jazz Darings (with Adam Matyszkowicz on piano, Jacek Ostaszewski on double bass and Wiktor Perelemutter on drums), which he never recorded anything with. Then he recorded in december 1965 his first vinyl, Krzysztof Komeda (later re-released as Astigmatic), credited to the quintet of pianist Krzysztof Komeda, who dead prematurely at 38, after having composed above all music for soundtracks, among which the Roman Polanski's Rosemary's Babe. Astigmatic is a transitional album, between post-bop and free jazz, on which stands out the 16-minute of Svantetic, more than the 23-minute title track. Stanko's style was quite near to Ornette Coleman and Miles Davis. As he stated in an interview, “I have always been interested in tradition. With Krzysztof Komeda we would mostly listen to scale music, like Miles Davies and John Coltrane. This was my inspiration. Ornette Coleman was important too, of course, but more as an example of a certain attitude toward art – that of searching and rebellion – than as a specific musical convention”. In 1969 he created his quintet, along with Bronislaw Suchanek (bass), Janusz Stefanski (drums), Zbigniew Seifert (mainly violinist, but here on alto sax), and Janusz Muniak (tenor sax). Stanko recorded with it in january 1970 Music For K, his first album as leader, four tracks among which stands out the 16-minute title-track, dedicated to Komeda. More free-jazz oriented, this album keeps though a main theme on which the musicians develop their inspiration, as also shown in Infinitely Small. The quintet replicated in may 1972 with Jazzmessage From Poland, a live album with the same lineup, also sporting Seifert on violin and Muniak on flute. The vinyl, never re-released, featured three pieces extracted from the concert. In march 1973, the quintet recorded the four tracks of their third and last album, Purple Sun (still unre-released), on which Hans Hartmann replaced Suchanek on bass. Notable, in this album, the meditative phrasing on trumpet of Flair, evolving in an elegant collective approach, near to Bitches' Brew. A brief experience in a trio with Janusz Stefanski on drums and Stu Martin on synthesizer marked the three pieces of Fish Face (august 1973), his first “electronic” album, released in limited circulation only for members of Polish Jazz Association. Then Stanko formed a quartet with Tomasz Szukalski (tenor and soprano saxes, bass clarinet) Peter Warren (bassist who worked with Jack De Johnette and Don Cherry) and well known Edvard Vesala (drums). TWET, their first album, was recorded in april 1974 (and not 1975, as erroneously stated on 2009 re-release), featuring a free-jazz approach developed from themes composed, among which is worth mentioning the enigmatic Dark Awakening. After having signed for ECM, the quartet came back with Balladyna (december 1975), re-released in 2008, on which Warren was replaced by Dave Holland. In this album (based on the 1839 Polish tragedy by Juliusz Slowacki), the Stanko's sound becomes more intimate and rarefied, even when the instruments interlace in their counterpoints. After a hiatus, Stanko recorded again in 1978 with a renowed quartet with Vesala and Szukalski, on which Palle Danielsson (well known for his collaborations with Terje Rypdal and Jan Garbarek) replaced Warren on bass. Almost Green, their new album released by Leo and until never reissued, features six new pieces; four brief, slow and intimate, plenty of solos, and two long, more collective. Communist regime doesn't let Stanko go out of Poland, but in 1980 he may join India, where, in two sessions (february and march), he records Music From Taj Mahal And Karla Caves (another Leo album still unrereleased), his most atypical and ambitious work, that collects 13 solo-trumpet pieces, performed in two famous temples, whose acoustics Stanko exploits to create evocative echoes: “It was also a strange recording. It is a criminal story! We were doing this at night, like rabbits! The security people from the Taj Mahal were looking for us with lights! We paid them, but we only had one hour”. Returned in Poland, Stanko repeats this experience recording in april 1982 W Palacu Prymasowskim, from the namesake album, a 19-minute suite that collects seven solos trumpet, more free oriented. The side A of album features Flair - Piece For Diana, 26 minutes recorded during Jazz Jamboree '73, with the quintet he created in 1969. Still in april 1982 he records Music 81 (reissued in 2009 by Metal Mind), five pieces performed with pianist Slawomir Kulpowicz, drummer Czeslaw Bartkowski and bassist Witold Szczurek. The main musical appeal is in the dialogues piano-trumpet, on which Stanko goes a bit more away from a free approach. With the same lineup, in july 1982 Stanko recorded the four tracks of AiJ (reissued in 1997), a more successful and inspired work; Stanko's technique definitively matures, especially in Monady (where his sound remembers the Freddie Hubbard one), also leaving a large space to Kulpowicz's variations, as in the title-track, the best piece. A different lineup for another acoustic experience (Jose Torres on percussion, Witold Szczurek on contrabass and gong, Apostolis Antymos on guitar), recorded in may 1983 the minor C.O.C.X., whose nine pieces feature a latin and soul approach, more easy listening. With the DoLP Freelectronic-Peyotl (reissued in several editions) Stanko started his new project Freelectronic, recording a multisession album (between april 1984 and november 1986), one of his most meaning albums, whose some pieces he later presented in july 1987 at Montreux Jazz Festival (very notable the live version of Asmodeus, that features an impressionistic and dark jazz-rock). With Freelectronic, Stanko introduced again the synthesizer (played by Janusz Skowron, who also composed some of pieces), also giving large space to his alter ego, the trumpetist Andrzej Przybielski. Another quartet (Witold Szczurek on bass, Apostolis Antymos on guitar and Tomasz Holuj on percussion) recorded the ten pieces of Lady Go... (june 1984). Reissued in 2009, this album is an arrangement between latin and fusion, but still a bit conventional. Chameleon (released in 1989, but recorded at a date in 1982) was an album still melodic but quite natural, performed by a trio with Janusz Skowron (piano, synthesizer, sampled percussion) and Apostolis Anthimos (electric guitar, electric bass, drums, percussion, sampled percussion, guitar synthesizer). Tales For A Girl, 12 (april and october 1991) was his new studio album in five years, after a serious incident that made him lose his teeth, replaced by a denture. It was a collection of 13 duets with Janusz Skowron on synthesizer, but in substance is a “solo” album, Skowron producing only atmospheric backgrounds for a lyrical jazz, but without the elegiac afflatus of Taj Mahal music. A new trio, along with bassist Arild Andersen (well known for his collaborations with Edward Vesala and Jan Garbarek) and drummer Jon Christensen (who also worked with Ralph Towner and George Russell) recorded Bluish (october 1991), collecting six pieces by Stanko and three by Andersen. The album switches from the enigmatic and ethereal two-part If you look enough, to the rhythm section dialogues of Third heavy ballad, and the more free phrasings, with notable solos by Andersen, of Bosanetta, Under the volcano and the title-track. (to be continued)

After having premiered it in march 2012, clarinetist Ben Goldberg releases Orphic Machine (BAG, 2015), a ten-song cycle that sees the leader and composer along with Carla Kihlstedt on voice & violin, Ron Miles on trumpet, Rob Sudduth on tenor sax, Nels Cline on guitars, Myra Melford on piano, Kenny Wollesen on vibes, Greg Cohen on bass and Ches Smith on drums. Inspired by the Allen Grossman's poem, the 75 minutes of this jazz-rock album were studio recorded in september 2013.

Tim Berne's Snakeoil project comes back with You've Been Watching Me (ECM, 2015), an eclectic album that mixes chamber music, electronics and collective improvisations, that gathers the leader on alto sax with Oscar Noriega (clarinets), Matt Mitchell (piano and electronics), Ryan Ferreira (electric and acoustic guitars) and Ches Smith (drums, vibraphone, percussion, timpani). Recorded in december 2014.

Martin Archer's Engine Room Favourites produced Bad Tidings From Slackwater Drag (Discus, 2015), featuring the leader on sopranino, alto & baritone saxes, bass recorder, bass clarinet, bass harmonica; Mick Beck on tenor sax and bassoon; Laura Cole on piano; Corey Mwamba on vibraphone; Graham Clark on violin; Seth Bennett on double bass; Peter Fairclough, Walt Shaw, Johnny Hunter and Steve Dinsdale on drums and percussion. This work merges melodies, progressive jazz, electronics, minimalisms and improvisations, through eight pieces recorded at various dates in 2014.

The Nile (Hardedge, 2015) features trumpeter Wadada Leo Smith along with sound design by Hardedge (moniker of Velibor Pedevski), which Smith collaborated since 2005 with, and whose music is entirely based on the Ankhrasmation language the trumpeter created as a theory to explain his musical approach. The four tracks Smith composed were recorded in april 2014. A week ago, he presented this work in a show titled 44 Years: Retrospective at John Zorn’s non-profit music venue in New York.

Credited to Mats Gustafsson & NU ensemble, Hidros 6 - Knockin´ (Not Two, 2015) features a stellar cast with the leader on slide, tenor, baritone and bass saxes, electronics and piano mate; Ingebrigt Håker Flaten and Jon Rune Strom on bass; Per Åke Holmlander on tuba; dieb13 on turntables; Kjell Nordeson on vibes, drums, flexatone, glockenspiel; Agustí Fernández on piano and organ; Christer Bothen on bass clarinet and guimbri; Joe McPhee on pocket trumpet, tenor sax and space organ; Peter Evans on trumpets; Stine Janvind Motland on vocals; Paal Nilssen-Love on drums. The four-part suite was recorded in october 2013.

Megasonic Chapel (Fractal, 2015) features guitarist Henry Kaiser along with Tania Chen (piano), Danielle DeGruttola (cello), Soo-Yeon Lyuh (haegum) and William Winant (percussion). About this album, the leader says: «It is one of the most unusual and original recordings of improvised music that I have been involved with... We talked a bit before recording this long 80 minute piece of music and decided to throw all of our musical resources into our endeavor. The result was a surprising mixture of not just Korean Court Music + Feldman, but also Korean Shaman Music, and the free improvisation approaches of the AMM, the SME, and the San Francisco Bay Area improvisors... Long-form music, pieces over an hour in-length, is not something that most folks spend much time experiencing or creating. We find it in Hindustani Music, Persian Music, certainly in the music of Morton Feldman, Terry Riley... It's one long 80 minute track that goes through some very peculiar changes and spaces». Recorded in january 2015. Still by Kaiser and with the collaboration of guitarist Sandy Ewen, Lake Monsters (Balance Point Acoustics, 2015) features an aggressive collection of guitar duets.

News from the label NoBusiness. The 2CD set Intricacies documents a live performance (february 2014) by the quintet of Paul Hubweber (trombone), Frank Paul Schubert (alto & soprano saxes), Alexander von Schlippenbach (piano), Clayton Thomas (bass) and Willi Kellers (drums). They performed three long pieces: the long-CD Come to Blows (50 minutes), the title-track (45 minutes) and Encore (14:30). The vinyl Fractions was studio recorded in november 2013 by the trio of Stefan Keune (sopranino and tenor saxes), Dominic Lash (double bass) and Steve Noble (drums, cymbals and percussion). The Convergence Quartet, comprising of  Taylor Ho Bynum (cornet), Harris Eisenstadt (drums), Alexander Hawkins (piano) and Dominic Lash (double bass), debuted with the vinyl Owl Jacket, studio recorded in october 2013.

Many news by Satoko Fujii. Her project KAZE comes back with Uminari (Circum-Libra, 2015), featuring the same lineup of previous recordings. The 70 minutes of this album, recorded in december 2014, sport an eclectic and creative progressive jazz, especially in the 21-minute Inspiration and in the dark impressionism of the title-track. Also, Fujii debuted another of her orchestras, Berlin, releasing Ichigo Ichie (Libra, 2015), that collects five extended pieces recorded in january 2014 by a 13-unit ensemble, among which the guitarist Kazuhisa Uchihashi. Yamiyo Ni Karasu (Libra, 2015) debuted instead her new project Tobira, comprising of Natsuki Tamura on trumpet, Satoko Fujii on piano & compositions, Todd Nicholson on bass (he worked with Billy bang) and Takashi Itani on drums. Enlightened by a lot of Tamura's solos, the seven pieces of this album were recorded in june 2014.

Fade To Orange
(Sazi, 2015) features Scott Amendola on drums, electronics & compositions, Nels Cline on guitar, Trevor Dunn on electric bass, William Winant on orchestral percussion and the Magik Magik Orchestra and the Fade to Orange Winds (with Ben Goldberg & Steve Adams). This music was written over three years, and recorded in april 2011, featuring a jazz-rock approach.

At Temple Gate (Weyrd Son, 2015), an album inspired to tales of shamanism interpreted in key of electronic soundscapes, features a collaboration between Jessika Kenney (voice, electronics), Eyvind Kang (viola, electronics), Hyeonhee Park (percussion, electronics) and Timm Mason (modular synthesizer). The evocative four tracks of this ltd ed. vinyl mix jazz, classical, folk and world music.

March 2015:

The vinyl Behold (Mego, 2015) features another collaboration between Oren Ambarchi (guitar and drums) and Jim O'Rourke (synthesizer and piano), as the follow-up of their 2011 Indeed. Studio recorded between 2012 and 2013, the album collects two long-side compositions (18 and 23 minutes), minimalism and free improvisation oriented.

First Detail, another vinyl (Grammophon, 2015), documents three old compositions performed by the trio of Frode Gjerstad (tenor and soprano saxes, bass clarinet and alto flute), Eivin One Pedersen (piano and keyboards) and SMO's John Stevens (drums), studio recorded in october 1982, the first performance by the lineup Detail, founded by Gjerstad in 1981. From the label liner notes, let's read: «First Detail is a recording from 1982 that predates the first Detail albums, hence the title. By this time Pedersen had left the group. For personal and emotional reasons Frode was sitting on the tapes until last summer before he felt ready to listen to them».

John Butcher (tenor and soprano saxes) and Gino Robair (percussion and synthesizer) present the vinyl Bottle Breaking Heart Leap. Recorded in may 2012, the two pieces of this album (16 and 14 minutes) feature an intense and loud sound (Butcher amplified heavily his saxes), with many improvisations. Again by Butcher, after having debuted with Live In Morden Tower, Common Objects, the project he formed in 2013 along with Rhodri Davies, comes back with the first studio recording, the 2CD set Whitewashed With Lines (Another Timbre, 2015). The lineup, with Butcher on various saxes, Davies on harps, Lee Patterson on electronics, and Angharad Davies on violins, performed two long compositions. CD 1 consists of Cup And Ring, a 57-minute suite recorded in march 2014; CD 2 contains Repose And Vertigo, a 44-minute suite recorded in may 2013. Their music merges electronic landscapes with free improvisations. Read here Rhodri Davies' liner notes about the album.

CharleBelllzzz At Saint Thomas (Alga Marghen, 2015) is a CD including the original Bells Studies by Charlemagne Palestine, as unreleased part of his Golden Research series; its two pieces collected, Bells Carillon and St Thomas Bells, recorded between 1966 and 1968, feature a very dark and dissonant approach. Bells Studies, instead, is another Alga Marghen album by Palestine, collecting other recordings dating back to 1965. Bells Studies, the title-track, was built in five movements starting with slow hypnotic sonorities and ending into more intense textures. Other shorter works are Bells, Confiscated Bell Tape and an excerpt from Dumb Bell Tape.

Snowy Egret, the new project of Myra Melford ( piano, harmonium and compositions), features Ron Miles (trumpet), Liberty Elman (guitar), Stomu Takeishi (bass) and the emergent Tyshawn Sorey (drums). Her new quintet debuted in 2012, and recorded the first self-titled album in summer 2014. The suite in ten parts was inspired by Uruguayan author Eduardo Galeano’s epic Memory of Fire trilogy, a history of the Americas told through indigenous myths and the accounts of European colonizers. The work was premiered in november 2013 as a multi-disciplinary performance, and studio recorded the month after as Language of Dreams (Enja, 2015).

The Room Is (Allos Documents, 2015) is the debuting album by the Renga Ensemble, the new project created by Ned Rothenberg (alto sax and clarinet) and Ken Vandermark (baritone sax and clarinets). Their all-clarinet sextet, also comprising of Keefe Jackson (clarinets and tenor sax), Jason Stein (bass clarinet), James Falzone (clarinets) and Ben Goldberg (clarinets) recorded 14 pieces (two of them over 11 minutes) in an “orchestral” approach. Recorded in april 2013.

Self Determination Music, an old forgotten vinyl originally released on Flying Dutchman and now restored by BGP, features John Carter on clarinet & other reeds, Bobby Bradford on trumpet, Tom Williamson & Henry Franklin on basses and Bruz Freeman on drums; this is another reissue after others by Carter&Bradford Quartets. Carter wrote three of the four pieces, particularly the 15-minute The Eye Of The Storm and the 13-minute Encounter. The album, follow-up of their 1969 Flight Of Four, was released in 1970, without no credits, and the reissue generic liner notes don't add anything about it. It's however a multisession album, recorded between 1969 and 1970.

Another original vinyl release by Flying Dutchmann is Leon Thomas' Blues And The Soulful Truth (reissued by BGP, 2015), recorded in november 1972, that features the singer with James Brown's bandleader Pee Wee Ellis on piano and tenor sax, Donald Pate and Gordon Edwards on basses, Cornell Dupree and Larry Coryell on guitars, John Eckert on trombone and Bernard Purdie on drums. The eight pieces (all by the leader but John Lee Hooker's Boom-Boom-Boom) mix soul, blues and jazz.

PI releases Synovial Joints, the new album by old Steve Coleman project Council of Balance, gathering this time 21 musicians, among which Jonathan Finlayson (trumpet), Marcus Gilmore (drums), Jen Shyu (vocals), Miles Okazaki (guitar), David Bryant (piano), Tim Albright (trombone), Maria Grand (tenor saxophone) and Anthony Tidd (bass). Ten pieces, already premiered the last august at Newport Jazz Festival and then studio recorded in late 2014..

Dinosaur Dances (L-M, 2010) documents Joey Baron and the European classical percussionist Robyn Schulkowsky, who recorded in february and march 2003 six percussion duets composed together. In this all percussion album the duo played timbales, cymbal, bells, hand drums, bongo, conga, slit-box, etc.

Turning Point (NoBusness, 2014) features pianist Dave Burrell and trombonist Steve Swell in a live studio album recorded in january 2013. The seven pieces, all composed by the pianist, develop melodies progressively improvised by the duo.

The Gospel According To Matthew & Michael (Relative Pitch, 2015) features the chamber trio of Matt Shipp (piano), Michael Bisio (acoustic bass) and Mat Maneri (viola). This disc gathers a series of pieces called Chapters 1 - 15. Recorded in october 2014.

The Hook Up is the new project formed in 2008 by well known composer and drummer Thomas Fujiwara, who debuted his career in 1997 playing with Taylor Ho Bynum, along with Jonathan Finlayson (trumpet), Brian Settles (tenor sax), Mary Halvorson (guitar) and Danton Boller (bass). Their first release, Actionspeak (482 Music, 2010) was recorded in november 2009, featuring seven lenghty pieces. The Air Is Different (482 Music, 2012) was instead recorded in october 2011, featuring new bassist Trevor Dunn. Six lenghty pieces composed by Fujiwara, with a melodic jazz-rock approach, and several solos. After All Is Said, the latest and recent release (482 Music, 2015), recorded in february 2014, features yet another bassist, the famous Michael Formanek, while Settles, always on tenor sax, also plays flute. The leader presents extensively here his new album.

Cuts Of Guilt, Cuts Deeper (Rare Noise, 2015) assembles Merzbow (aka Masami Akita) on noise electronics, Mats Gustafsson (sax and clarinet), Thurston Moore (guitars), and Balazs Pandi (drums)). They recorded four lengthy tracks in a purely improvised session. Recorded in april 2014.

Recorded in may 2013 during the meeting in various live jazz festivals, Tables Of Changes (Intakt, 2015) documents a collaboration between Marilyn Crispell (piano) and Gerry Hemingway (drums, percussion and vibraphone). They composed together seven new pieces (notably the 14-minute Windy City), plus a reworking of Cole Porter's Ev’rytime We Say Goodbye. The duo alternates intimate moments and melodies and collective improvisations.

Still by Intakt, It Rolls is credited to the trio of classical pianist and composer Katharina Weber (piano), Fred Frith (guitar) and classical chamber drummer Fredy Studer (drums and gong). The three studio recorded in july 2014 ten pieces (notably the 15-minute title-track); their music mixes silence and massive sonorities, with improvisations.

The Song Is My Story (Sunnyside, 2014) is Abdullah Ibrahim's solo piano chronicle of his life, performed in brief compositions, several being reworked Dolar Brand songs, while others instead are improvisations. Recorded in june 2014, the CD is accompanied by a DVD on which Brand speaks about his background, influences and inspirations.

Simulacrum (Tzadik, 2015) is the self-titled album by the organ trio of John Medeski, Matt Hollenberg (the same of emergent project Cleric, where he is on guitar) and Kenny Grohowski, whose music is credited to John Zorn, who composed six tracks mixing metal, jazz, minimalism and noise. Recorded in december 2014.

Soulfood Available (Clean Feed, 2015) features Peter Brotzmann (tenor & alto saxes, b-flat clarinet& tarogato), John Edwards (double bass) and Steve Noble (drums). This is the second album by the trio, following The Worse The Better. It was recorded during the july 2013 edition of the Ljubljana Jazz Festival.

Yelena Eckemoff trio, featuring the leader pianist along with Arid Andersen (bass) and Billy Hart (drums) releases Lions (L & H, 2015), a 2CD set collecting 14 new pieces, recorded in march 2013. The pianist speaks about this album extensively on her website.

Triptych is a three-part composition (18, 24 and 20 minutes, respectively) originally released by Important in 2009. Composed by Elian Radigue, commissioned for choreography. Only the first part, though, was staged at the premiere at the Dancehall/Theatre of Nancy on february 1978. Tryptich was later recorded in the composer's studio in Paris. Inspired to Tibetan Buddhism conception of the fundamental elements, water, air, fire, earth. As in mostly of hewr works, Triptych features a slowly “transitional” drone-based sound, with Radigue on ARP synthesizer.

February 2015:

US trumpeter and flugelhornist Clark Terry, well known for his collaborations in '50s with Duke Ellington and Thelonius Monk, and sideman in several big bands, died for diabetes on february 21, at 94.

Angel City
(RogueArt, 2015) documents the Roscoe Mitchell trio with the leader (sopranino and bass saxes, baroque flute, bass recorder, whistles, percussion), James Fei (sopranino, alto and baritone saxes, Bb bass and Bb contrabass clarinets, analog electronics), and William Winant (orchestra bells, tubular bells, marimba, timpani, bass drum, snare drum, cymbals, cow bells, triangles, woodblocks, gongs, percussion). They studio recorded the namesake 55-minute suite in november 2012.

The new label International Anthem debuts releasing the vinyl Alternate Moon Cycles, credited to Rob Mazurek, who, on his cornet, leads a trio along with Matt Lux (electric bass) and Mikel Patrick Avery (organ). The album consists of two long pieces (16-minute Waxing Crescent #1 and 15-minute Waxing Crescent #2), that transform his 2012 100 Cs For Dixon in a minimalistic and quite dark sound, while Mazurek's cornet plays a single note. Recorded in december 2012.

Veteran trumpeter Tom Harrell is still very active. In 2000's, he formed a renewed quintet, along with Jimmy Greene (tenor sax), Xavier Davis (piano), Ugonna Okegwo (bass) and Quincy Davis (drums), debuting with Live At The Village Vanguard (november 2001). On trumpet and flugelhgorn, he recorded in december 2006 his first studio album, Light On, with a different lineup: Wayne Escoffery (tenor sax), Danny Grissett (electric piano), Ugonna Okegwo (bass) and Johnathan Blake (drums). The same lineup came back in june 2008, with the studio album Prana Dance, featuring eight lenghty pieces, and again in november 2009 with Roman Nights. The Time Of The Sun (december 2010) and Number Five (december 2011) were the latest recordings, always featuring Harrell's compositions. More recent is his sextet, gathering Wayne Escoffery (tenor sax), Jaleel Shaw (alto sax), Ugonna Okegwo (bass), Esperanza Spalding (bass and vocals) and Johnathan Blake (drums). They debuted with Colors Of A Dream (april 2013). In the meantime, also playing  in severals projects and albums, Harrell recorded other credited albums since 2000's: Paradise (november 2000) featured the ensemble along with Ugonna Okegwo (bass), Adam Cruz and Leon Parker (drums), Freddie Bryant (guitars), Lois Colin (harp), Xavier Davis (piano and percussion), Jimmy Greene (tenor sax), Juliet Haffner (viola) and Belinda Whitney (violin). Wise Children (may 2003) featured a more large ensemble, along with Cassandra Wilson on vocals. The Auditorium Session (april 2005) was studioo recorded with the italian lineup of Maurizio Giammarco (tenor and soprano saxes) Fabio Zeppettella (electric guitar) Dario Deidda (electric bass) and Fabrizio Sferra (drums). Most recent album, Trip (HighNote, 2014) sees the return of his quartet, along with saxophonist Mark Turner, accompanied by rhythm section of Ugonna Okegwo (bass) and Adam Cruz (drums). Studio recorded in october 2013.

After many bootleg releases, The European Tour 1961, a 4 CD box set by Acrobat, features the 1961 John Coltrane quartet's tour, with McCoy Tyner, Elvin Jones and Reggie Workman (Jimmy Garrison came later), along with no less than Eric Dolphy (sax and clarinet). This release collects tapes from six concerts, all recorded in november 1961. All famous the pieces: Blue Train, Impressions, My Favourite Things, Naima, etc.

The 4CD box set Garden Of Memory (along with a bonus CD), released by Fractal, features 5 hours & 40 minutes of long form guitar solos by Henry Kaiser. The first four discs were recorded live in june 2014. The bonus disc contains the two works xA Little Stroke Of Light yand \No TroubleWith The Tromba. Here's how Kaiser speaks about this work: "I've played in the particular "square wave modulation of long delay times" mode featured here since I discovered the technique/method back in 1981 or so. It's a both a way of sounding like more than one guitar, and a method of unpredictably interacting with myself in several different time frames. When I perform in this manner, I just try to get out of the way of the music. I have no idea what's going to happen or what the music is going to be like. There is no plan and nothing is pre-conceived. At this particular concert I ended up with four long solos that seemed to be variations on similar sets of ideas; like the proverbial blind men's differing perceptions of the elephant, they are just expressions of something that is bigger, and outside of, my conscious ways of thinking and perception. Just as when I play live, my aim with these CDs is to present to the audience with something, in the spirit of fun, that is entertaining, and asks more questions than it provides answers".

Again Henry Kaiser, with the collaboration of bassist Damon Smith, releases Relations (Balance Point Acoustics, 2015), their first recorded duo, played with special acoustic instruments: Kaiser is on 1998 Monteleone Radio Flyer 7-string guitar and Smith on 1934 Romanian or German flat back double bass. Recorded in november 2013 without any devices, effects nor overdubbing.

Battle Pieces (Relative Pitch, 2015) features Nate Wooley on trumpet & compositions, Ingrid Laubrock on tenor sax, Matt Moran on vibes and Sylvie Courvoisier on piano. Recorded in april 2014, this release collects four Battle Pieces and three Tape Deconstruction, each piece being numbered. Each tracks start from several written notes, played by one instrument, and then repeated while the other players add lines or solos.

Between Two (Ftarri/Meenna, 2014) features the trio of Tetuzi Akiyama (guitar), Jason Kahn (drums) and Toshimaru Nakamura (no-input mixing board). They recorded a concert in may 2014, from which were extracted four long tracks.

Extended Duos, a 6 CD + 1 DVD Box set released by Audiographic, documents the latest release from Ken Vandermark (reeds) and Paal Nilssen-Love (drums), along with a notable guest cast: Tamaya Honda (drums), Jim O'Rourke (guitar), Akira Sakata (Bb clarinet), Masahiko Satoh (piano), Michiyo Yagi (koto) and Mick Beck (reeds). The duo is also playing on its own and their performances bookend the box set. First two discs and the last CD (june 2014) document only the duo Vandermark/Nilssen-Love.

Jean Derome's Chamber Music 1992-2012 (Ambiences Magnetiques, 2015) documents 25 mostly brief chamber works composed by Montreal composer, multi-instrumentist and improviser Jean Derome, presenting pieces from several projects: Dangereux Zhoms, Ensemble de flutes Alize, duos with Lori Freedmam, Quasar, quatuor de saxophones. The pieces were recorded for the first time in 2014 by a large ensemble.

Canada Day's drummer Harris Eisenstadt recorded live in concert at the Vancouver International Jazz Festival in july 2014 Golden State II (Songlines, 2015). The composer, along with Michael Moore (clarinet), his wife Sara Schoenbeck (bassoon) amd well known Mark Dresser (bass) extracted five lenghty pieces featuring a chamber jazz with intricate textures. Extensively presented here.

The vinyl Double Automatism (Karl, 2014) presents the duo Talibam! (Matt Mottel on analog synth and Kevin Shea on electronic MIDI mallet percussion) with Fluxus artist and electronic avant-gardist Yasunao Tone (computer) and trombonist Sam Kulik, who played an array of analog synths and other electronic devices. The two pieces were recorded in late 2013.

Divided in two vinyls, Two City Blues (Trost, 2015) documents two sets studio recorded in november 2010 by Keigi Haino (guitar, shamisen and vocals), Peter Broetzmann (tenor and alto saxes, clarinet and tarogato), and Jim O'Rourke (guitar). The two collected pieces (the brief One Fine Day and the 49-minute title-track) feature a mix of themes developed and flowing into intense improvisations.

Secret Keeper, the project created by guitarist Mary Halvorson and Vijay Iyer's trio bassist Stephan Crump, after having debuted with Super Eight, present now the Intakt release Emerge, collecting nine new compositions studio recorded in june 2013.

News by always more prolific John Zorn. The Hermetic Organ Vol. 3 (Tzadik, 2015) documents his third solo organ album, live recorded in november 2013: three lenghty pieces featuring loud and hypnotic sonorities. Amon (Tzadik, 2015) is the Book of Angels Volume 24, created along with Klezmerson. And Olympiad The Early Game Pieces (Tzadik, 2015) documents the new guitar quartet Dither's album performing two versions of four Zorn's pieces he composed in the late '70s and early '80s, as yearly retrospectives of his game pieces at various Downtown venues. He called these events his Olympiads. In this second release, Dither are: Gyan Riley (electric and acoustic guitar, banjo), Taylor Levine (electric and acoustic guitar), Joshua Lopes (electric and acoustic guitar, bajo sexto, zhong ruan) and James Moore (electric and acoustic guitar, banjo, mandolin). Among the pieces, the first recording of Zorn's Fencing and Curling (especially the second electric 20-minute version).

In Light Of Shadows (Tzadik, 2015) is the latest Ikue Mori's album, performed on electronics and collecting, say laconic credits, ten new experimental pieces.

Credited to Mike Osborne, Dawn (Cuneiform, 2015) collects early 60's recordings by Mike Osborne, in three sessions (june 1966, august and december 1970), performed by the altoist along with Harry Miller (double bass), Louis Moholo (drums), Alan Jackson (drums) and John Surman (baritone and soprano saxes).

The vinyl Drawn And Quartered One Hand, 2015) features Chris Pitsiokos on alto sax and Weasel Walter on drums. Recorded in may 2014, the three pieces document Walter playing with a double-pedal on his bass drum, in a quite totally improvised session.

By Cold Blue label, two new John Luther Adams recordings. The Wind In High Places documents a pair of string quartets and one piece for cello choir. The title-track features harmonics and tones played on open strings, treating, the composer said "the string quartet as a large, 16-stringed harp". Whereas Four Canticles Of The Sky, the cello work, was played by the 45 cellos of the Northwestern University Cello Ensemble. The final string quartet, Dream Of The Canyon Wren, is introduced by a birdsong appoggiatura that is developed by the members of the JACK Quartet. Instead, the 2CD/DVD set Become Ocean (Cantaloupe, 2015) is a 42-minute work commissioned to compose a piece for the Seattle Chamber Players, conducted by Ludovic Morlot. It was developed starting by an old Adams work, Dark Waves, a 12-minute piece for large orchestra and electronic sounds. Premiered in spring 2014, it was the studio recorded at the end of the year.

January 2015:

Ballister's Worse For The Wear (Aerophonic, 2014) features Dave Rempis on alto, tenor & baritone saxes, Fred Lonberg-Holm on cello & electronics and Paal Nilssen-Love on drums. This is the third disc from the group, recorded in march 2014. The three extended pieces (especially the 21-minute Fornax) continue the same feeling of previous albums, with many improvisations.

The 1960, for Miles Davis, was an year with one studio recording only (some sessions for his Sketches oOf Spain), most of his time being occupied by his European Tour, of which, until now, exist some bootlegs only. The 4CD boxset released by Acrobat label'All of You: The Last Tour is the first legal release presenting some of material coming from these live concerts, a quintet on which the trumpeter was accompanied by John Coltrane (tenor sax), Wynton Kelly (piano), Paul Chambers (bass) and Jimmy Cobb (drums). Only absent in these recordings is the performance available on the 2002 Delta album Olympia-Mar 20, 1960.

Credited to Gunter Hampel Music with Dance Improvisation Company, the 2CD set 77 Birthday Extravaganza/The Advancement Of Joy And Love In Intuitive Family Music & Dance Teamwork (Birth, 2014) was recorded live in august 2014 by the leader on bass clarinet, balafon & vibes, Cavana Lee Hampel on vocals, Johannes Schleiermacher on tenor sax and Bernd Oezsevim on drums, plus Danillo Cardoso & Ruomi Lee Hampel as dancers. Hampel composed two CD-long pieces: the 1-hour Smiling Energy/Play With Me/Balafon/Enjoying Your Company/Magic Touch and the 33-minute Approachable/Godzilla/Happy Birthday Candles/Workout/Bounce/Lanky. Collaborations with this Dance Company date back to january 2004, when was recorded On Fire. This is their fourth disc, after Jungbrunnen/Fountain Of Youth (june 2006) and Joy + Pleasure - Energie Beyond Aggression (august 2012).

New Vocabulary (System Dialing, 2014) is a project from the duo of trumpeter Jordan McLean (member of Antibalas, Iron And Wine, and here also on electronics) and drummer Amir Ziv (member of Cyro Baptista, Droid, and Kotkot), joined by Ornette Coleman. They have fashioned a musical environment for Ornette Coleman's gestures, alto sax and voice. To the 12 pieces also collaborated pian ist Adam Holzman. This album, recorded in july 2009, was the new Coleman disc in 13 years, after Sound Museum: Three Women.

Schlippenbach Trio, led by the pianist along with Evan Parker (saxes) and Paul Lovens (drums), releases Features (Intakt, 2015), 15 mostly brief pieces studio recorded in december 2013. Let's read from the liner notes: "The motto is: never stay still, keep refining the music, working on the details, the current, the inner strength, so that the result is the greatest joy and clarity possible".

Still by Intakt, Mark Helias' Open Loose, whose current lineup sees the bassist along with Tony Malaby (sax) and Tom Rainey (drums), releases The Signal Maker, 13 new pieces studio recorded in july 2014. "The most interesting developments come when we start altering the compositions in a creative way, maintaining the spirit of the piece but taking it somewhere else, into an unimagined place", says Helias. Ten pieces come by Helias, the other three are collective.

Again by Intakt, To Roy (allusion to the trumpeter Roy Campbell, whom the disc is dedicated to), is the first collaborative experience by Oliver Lake and William Parker. The saxophonist and the bassist composed together eleven pieces, recorded in january 2014. The intimate sound sports counterpoints and improvisations.

Guitarist Chris Forsyth & trumpetist Nate Wooley present the vinyl Third (Rekem, 2014), after the duo debuted with The Duchess Of Oysterville, and their follow-up The Duchess Is Dead, Long Live The Duchess . Live recorded in march 2013, the album sports a two-part suite, Evening Rage.

June 6th 2013 (Novara Jazz, 2014) documents the first release from Novara Jazz Series (label associated with the Novara Jazz Festival), the first meeting, recorded live during the 2013 edition of the festival, between Wadada Leo Smith and the italian jazz group Eco D'Alberi, comprising of Edoardo Marraffa (tenor and sopranino saxes), Alberto Braida (pianist on stage since '90, who played with John Butcher, Guenter Christmann, Peter Kowald, Larry Ochs, etc.), Antonio Borghini (bassist who also played with Anthony Braxton Quartet) and Fabrizio Spera (drums). Among the six tracks, the 16-minute The Great Oak. Eco D'Alberi debuted in 2011 with a self-titled gathering four pieces live recorded in 2008 and 2009.

The posthumous Conduction 192 - Possible Universe documents an unreleased work by Lawrence "Butch" Morris, who conducted David Murray (tenor sax & bass clarinet), Evan Parker (tenor sax), Pasquale Innarella and Greg Ward (alto sax), Josef Bowie and Tony Cattano ( trombone), Meg Montgomery (electro trumpet), Riccardo Pitta (trumpet), Jean-Paul Bourelly and Ka'a Davis (guitar), Harrison Bankhead and Silvia Bolognesi (double bass), Chad Taylor (drums & vibraphone), Hamid Drake (percussion) and Alan Silva (synth). This NuBop album, a synthesis of jazz and classical music composed by Morris in 2010, was premiered at Sant'Anna Arresi festival in 2012.

Anthony Braxton's Small Ensemble Music (Wesleyan) 1994 (Splasch, 2014) documents a duo & a trio improvisations and the unreleased Composition No. 107 for trio played by Braxton & his students, plus three compositions of his "ghost trance music". The first trio improv is a sax trio with Brandon Evans, Andre Vida & Braxton himself on which were also used oboe, bass clarinet, shenai, baritone and contrabass clarinet. The duo improv features Braxton on sopranino and Eric Rosenthal on percussion. Composition No. 107 for piano and trombone (played by Roland Dahinden ) and the leader on soprano & c melody sax. Finally, Three Compositions for Sextet, that contains Compositions Nø 43 and 44, features Jason Hwang (violin), Ted Reichman (accordion), Mike Heffley (trombone) and Kevin Norton (drums).

William Parker Bass Quartet, along with the collaboration of  Charles Gayle, performed Requiem (Splasch, 2014), the final set of the 2004 Vision Festival. Let's remember the quartet lineup: Alan Silva, Sirone, Henry Grimes and William Parker. The pieces feature combinations of duos and trios, but also the whole quintet, with Gayle on alto sax.

Stevan Kovacs Tickmayer releases Gaps, Absences (Recommended, 2014), that collects several studio "solo piano" sessions recorded in a synagogue in july 2012, and later studio overdubbed playing prepared and upright piano, harmonium, double bass, violin, percussion, drums, Hungariun zither, citara bassa, bowed cymbals, mouth harmonica, melodica, alt-clarinet, sampler and field recordings. Among the ten pieces let's remember the 8-minute Gardon Music II and the 9-minute Eastern Prelude - Passamezzo Ongaro.

Break Stuff (ECM, 2015) documents the new Vijay Iyer trio album, studio recorded in june 2014 by the pianist along with Stephan Crump (double bass) and Marcus Gilmore (drums). Alternating collective and solos moments, the twelve pieces take their inspiration from several backgrounds: Hood, a tribute to techno pioneer Robert Hood; Work, inspired by namesake Thelonius Monk's theme; a reworking of Coltrane's Countdown, in west african key; a piano solo reworking of Billy Strayhorn's Blood Count; other themes only premiered and still unreleased.

ECM's Made In Chicago documents a live recording (august 2013) credited to Jack DeJohnette. The drummer led a notable quartet: Henry Threadgill (alto sax, bass flute and bass recorder), Roscoe Mitchell (soprano and alto saxes and wooden flute), Muhal Richard Abrams (piano) and Larry Gray (double bass and cello). The concert featured compositions by Mitchell, Threadgill, Richard Abrams and the leader, plus several improvisations.

Pour En Finir (AM, 2014) is the latest Klaxon Gueule's album. Michel F Cote (percussion), Bernard Falaise (electric guitar) and Alexandre Saint-Onge (electric bass). The new twelve pieces they recorded in june 2013 feature metallic and electronic themes on which the trio, as usually, builds his improvisations.

The Celestial Squid (Cuneiform, 2015) documents a collaboration between Henry Kaiser and Ray Russell. Recorded by the guitarists in april 2014, the album also features drummers Weasel Walter and William Winant, bassists Michael Manring (electric) and Damon Smith (acoustic), and saxophonists Steve Adams, Joshua Allen, Phillip Greenlief and Aram Shelton. Aftere a five-hour session, Kaiser selected the best moments to get an 80-minute album mostly improvised around melodic structures.

ECM's Songs For Quintet documents the last studio album recorded by Kenny Wheeler before his death. On his flugelhorn, Wheeler led Stan Sulzmann (tenor sax), John Parricelli (guitar), Chris Laurence (double bass) and Martin France (drums). Nine pieces recorded in december 2013.

Still by ECM, Imaginary Cities, by the Chris Potter Underground Orchestra, documents the notable ensemble led by the reedist (here on tenor and soprano saxes and bass clarinet): Adam Rogers (guitars), Craig Taborn (piano), Steve Nelson (vibraphone and marimba), Fima Ephron (bass guitar), Scott Colley (acoustic guitar), Nate Smith (drums), and the string quartet of Mark Feldman and Joyce Hammann (violin), Lois Martin (viola) and David Eggar (cello). Recorded in december 2013, the album features dialogues and collective improvisation, often world-music oriented.

Solidarity Unit Inc's Red, Black and Green (Eremite, 2015) is an album recorded in september 1970 that features Oliver Lake (alto sax, flute), Carl Richardson and Kada Kayan (bass), Danny Trice (congas), Richard Martin (guitar), Charles Wesley Shaw, Jr. "Bobo" (percussion), Clovis Bordeaux (piano), Joseph Bowie (trombone), Baikida Yaseen and Floyd Leflore (trumpet). Percussionist Charles "Bobo" Shaw produced this vinyl, which documents what happened on 18 september 1970, the day Jimi Hendrix died. Richard Martin dead at 34 and recorded just four times (two with Bowie and his Defunkt).

Recorded in august 2014, Rudresh Mahanthappa's Bird Calls (ACT, 2015) starts his Charlie Parker's project, reinterpreting some of most known "Bird"'s pieces, he presents as a mixing of jazz and Indian music. He, on his alto sax, led an acoustic quintet along with Adam O'Farrill (trumpet), Matt Mitchell (piano), Francois Moutin (acoustic bass) and Rudy Royston (drums).

MiruMir restores the nø 6 of Nova Musicha series Four Principles On Ireland And Other Pieces, a vinyl that documents 13 Cornelius Cardew compositions (quite brief) performed on piano, dating back to 1974, and based on the revolutionary songs of different countries (Irish rebellion of 1798, Islamic rebellion of 1937, uprisings in West Berlin in the early '70s, etc.). Original vinyl was released in Italy by Cramps.

There's A Light That Enters Houses With No Other House In Sight (SamadhiSound, 2014) sees the collaboration of Franz Wright (spoken word), Christian Fennesz ( guitar, laptop), David Sylvian (piano, sampling, laptop, electronics) and John Tilbury (piano). The single 64-minute namesake suite features poetry, ambient and electronics, with various moments of concrete music. Sylvain presents extensively here this recording.

East By Northwest (Pleasure if the Text, 2014) is a live set between Nate Wooley (trumpet) and Ken Vandermark (clarinet, tenor and baritone saxes). Recorded in june 2013, it features nine pieces, partially inspired by works of John Carter and Bobby Bradford, whose themes are counterpointed by several improvisations.

Black Sweat restores Ariel Kalma's DoLP Open Like A Flute, composed in 1981 and originally released only on cassette by Astral Muse in 1982. The nine compositions, among which the 13:20-minute Sazz Flute and the 16-minute Aman, feature a synthesis of raga and electronic texteures, he performed playing flute, drums, organ, synthesizer, Jew's harp, bells, harmonium, soprano sax and effects.

Philip Corner's Through Two More-Than-Mysterious Barricades is a Roaratorio vinyl that documents two 15-minute piano improvisations inspired by Fran‡?ois Couperin's Les Barricades Mysterieuses, the first performed in 1992, and the second in 2004. The first dates from 1992, in collaboration with dancer Paulette Sears (who provides the 'singings and screamings' of the album's subtitle); it moves from a frenzy of abstraction to a more meditative take on Couperin's composition, with diversions and tributaries along the way. The second, from 2004, is a rougher beast: recorded with wildly over-saturated levels, the tape machine itself becomes a participant in the performance, with its heavy distortion bringing out storm-clouds of overtones from Corner's piano.

The trio of Keiji Haino, Jim O'Rourke and Oren Ambarchi comes back with their sixth release, the vinyl Tea Time For Those Determined to Completely Exhaust Every Bit of This Body They've Been Given (Black Truffle, 2014) This is the entire second set of the trio's march 2013, the follow-up of Only Wanting To Melt Beautifully Away Is It A Lack Of Contentment That Stirs Affection For Those Things Said to Be As Of Yet Unseen). The trio returns to the "classic" line-up of guitar, bass and drums, but Haino also performs flute solos.

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