Roulette of the Cradle by Ingrid Laubrock Anti-House.
This is the sort of music that your more hide bound “Jazz” traditionalists tend to hate. That is, while sections do occasionally “swing”, large swaths are more influenced by some of the more expressionistic aspects of 20th Century Classical music. Skittering polyrhythms, tone clusters, etc. Personally, I enjoy that the instrumentalists and composer cast a wider net than simply Ragtime, Blues, and “Jazz” for their inspiration. Also, great song titles.
A set of 16 composed and improvised duos between Kris Davis and a variety of collaborators: Don Byron, Tim Berne, Marcus Gilmore, Billy Drummond, Angelica Sanchez, Craig Taborn, Julian Lage, and Bill Frisell. All the pieces have their own charm, but I am especially fond of the piano duos with Craig Taborn.
Stubborn Persistent Illusions by Do Make Say Think.
Do Make Say Think is kind of like Godspeed You Black Emperor’s slightly less gloomy younger sister. Cheery, almost, and I bet she has more friends.
Another Contellation Records release, courtesy of my wife, the wonderful Michele K-Tel, (which is kind of weird, considering, until recently, she was giving me a hard time about having too much Constellation vinyl.)
’58 Sessions by Miles Davis, Julian “Cannonball” Adderley, Paul Chambers, Jimmy Cobb, John Coltrane, Bill Evans.
From this remove, it’s hard to hear that this record was somewhat radical at the time of its recording. It seems to represent a bridge between the Bebop, that the young Davis came up in, and the “Modal Jazz” he would soon become famous for popularizing on “Kind of Blue”. Adderley is especially great on this, and Coltrane is solidifying the sounds he would become known for.
The Art of The Improv Trio Volume 5. Gerald Cleaver, Joe Morris, and Ivo Perelman.
I enjoyed Joe Morris’ playing, but I didn’t fully appreciate his perspectives until I read an interview with him in a collection of interviews William Parker did with improvisors for RogueArt. Anyway, Morris and Perelman seem to have a real connection and their interplay on this album is fantastic to listen to.
The Art of The Improv Trio Volume 4. Gerald Cleaver, William Parker, and Ivo Perelman.
Mr Perelman must have had three espressos before this set, because he is out in front, right out of the gate. After a few failed attempts to connect with Perelman, Cleaver and Parker establish a dialogue between themselves and carry on. Perelman eventually realizes he’s not in sync with the rest of the trio, and tries to connect with what Parker and Cleaver are doing, but never finds a way in. I found myself wishing I could turn off Perelman’s Sax and just listen to the Bass and Drums as a duo.
Interesting how Mr Perelman tailors his Tenor playing to his partners. In this case he is matching Maneri’s cello with a formidable display of his glissando technique and upper register playing. Very different from Volume One.