But the majority of the program delivers jazz as a boxing match packed with jabs, uppercuts and haymakers. The album’s intensity pulls you in even when Escreet turns the burner down a notch, as he does on “Equipoise,” with cascades of notes flowing under his fingertips in a most unusual manner. This agility and interplay between the three, on what is Escreet’s first-ever trio recording, makes the entirety of Seismic Shift a joyful, “hell, yeah” listen.
Bandmates Eric Revis on bass and Damion Reid on drums spur on a call-and-response group dynamic that takes the music “out” but still keeps everything in the groove. He rips through clusters of notes, rapid-fire, and pounds the keyboard with an aggressiveness that commands attention. The tune is a tour de force shot from a cannon. 1,” the opening number on the new recording.
Escreet’s pianism drips with power, as witnessed on “Study No. His piano playing slaps bold, bombastic and beautiful, as witnessed on Seismic Shift, his new recording on the Whirlwind label. John Escreet is not shy as a composer or improviser. Overall, De Repente is better, but thankfully they’re both back. By “Sobre El Orinoco,” Moret has crowded Armas out, and he takes back over and reminds you why he’s here. It starts out at a quick pace, then slows down, then back up.
On “Indecision,” his electric piano work is such one almost thinks it’s a guitar. More than that, he deftly blends playing piano and his Fender Rhodes throughout.Įspejismo adds a flutist (Domingo Moret), and the band becomes more spaced out, making way for more percussion and more complicated arrangements. His piano playing is so elegant, tremblingly so, on “I F” and “In Time.” On “Aguas De Marzo” he plays so well you’d think two pianists were playing concurrently. Parte),” deconstructing what he’s doing, as he does again and again on these two discs. De Repente rips out of the gate with its title track, a tightly busy, piano-based composition, before Armas switches over to Fender Rhodes for “De Repente (2a. It has also reissued the Virgilio Armas Trio’s album De Repente, previously only available from the tiny Discos A&B label - a one-off, self-financed project. Pianist and bandleader Armas combines Latin jazz and post-bossa swing with homegrown variants, honed over years of playing in clubs in the Altamira and La Castellana districts of the capital.Īnd yet, We Are Busy Bodies did not stop there. Canadian label We Are Busy Bodies has reissued the rare and sought-after 1973 Venezuelan jazz album Espejismo by Virgilio Armas Y Su Grupo, offering a snapshot of the thriving music scene in early-1970s Caracas, until now largely undocumented because of the musical dominance of Venezuela’s far-larger, southern neighbor Brazil.
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Sinton is on a roll this year, starting with the June release of Adumbrations, a free and lyrical documentation of the long friendship between Sinton, pianist Jed Wilson and drummer Tony Falco (who have known each other since their student days at New England Conservatory), followed by this first volume of Lacy’s etudes, and concluding with a late-October release by Sinton’s Predicate Quartet (with trumpeter Jonathan Finlayson, cellist Christopher Hoffman and drummer Tom Rainey) titled 4 freedoms, which was funded by a grant from the Jazz Coalition to explore socially conscious themes. This album is a heavy package that will appeal to serious players, deep listeners and fans of art created in absolute earnest. Highlights include “Hubris,” with its staccato outbursts and r&b references the minor-key “Hallmark,” where an extended meditation turns into a two-way internal dialog and the all-organic centerpiece “Hustles,” which exhausts a huge range of sonic possibilities and abstractions in its profound comprehensiveness. 1 “H.” Each of the six etudes here follows a set format that provides ample room for Sinton to build nuggets of discovery into fully developed improvisations. In Sinton’s view, the ever-more-ubiquitous bari remains ripe for experimentation and under-explored in the vast realm of solo saxophone works, and he shows unwavering enthusiasm for new ideas on Steve Lacy’s Book Of Practitioners, Vol. Sinton extends Lacy’s intended use of the etudes as practice and study material to create an album that explores the outer reaches of what is possible on this flexible and complex instrument, which has long been a staple of both traditional and experimental jazz ensembles. 1 “H,” a solo recording of the late soprano saxophone master’s advanced etudes performed on the big pipe. Josh Sinton shares 20 years of “findings” on the baritone saxophone with the release of Steve Lacy’s Book Of Practitioners, Vol.
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