Entries from February 2015
David Lyttle: Faces
The thirty-second cello sortie that kicks off Faces is an arresting opening statement that dashes any preconceptions about what to expect from David Lyttle’s third outing as leader. While the acoustic True Story (Lyte Records, 2007) and Questions (Lyte Records, 2010)–the latter a swinging collabora…
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·Luzia von Wyl Ensemble: Frost
The age-old debate, regarding the pros and cons of melding classical music with other genres will live on. And of course, the oil and water analogies will be discussed as many hybrid encounters may seem contrived, evidenced by hard-rock guitar solos wailing above syrupy strings arrangements or abstr…
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·Nate Radley: Morphoses
There are guitarists out there who seek to burn an impression of their work into ears and minds, and there are others who manage to make an impression simply by being themselves. Nate Radley falls into the second category. His music isn’t forceful, but it still manages to make an impact
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·Beresford Hammond: The Science of Snow
This duo’s name, Beresford Hammond, hints at its membership–Charlie Beresford, guitarist and vocalist in the improvising quartet Fourth Page, and classically-trained cellist Sonia Hammond, whose first CD of Bach was recorded live in St. Mary’s Church, Hay-on-Wye, by Beresford, in March 2014. That s…
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·Sigurdur Flosason/Kjeld Lauritsen: Daybreak
They used to call this kind of thing “mood music.” The idea was to put the listener in a particular mood, usually one of calm and relaxation. When it came to jazz, the US label Prestige climbed on the bandwagon with a whole series titled–wait for it– “Moodsville.” Moodsville aimed at providing jaz…
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·Detroit Bop Quintet: Two Birds
On December 21st 1947 m: Charlie Parker , m: Miles Davis , m: Duke Jordan , Tommy Potter}}, and m: Max Roach recorded four Parker compositions for Savoy at United Sound Systems recording studio in Detroit, Michigan. Parker’s Quintet was in town for two week…
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·Alyssa Allgood: Lady Bird
Today scat is, literally, a dirty word. In a more polite age it was what m: Louis Armstrong did when he forgot the words to “Heebie-Jeebies.” Such was Pops’ influence that, even though it was a mistake, soon everyone was doing it.
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