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viewing 1 To 6 of 6 items
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CD
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SHCD 169CD
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$17.00
PREORDER
RELEASE DATE: 3/6/2026
"Parminter is one of the most exciting new bands to emerge in recent months on the Barcelona scene, a scene that is both unsettling and full of discoveries. Adventurous, free, daring, provocative. Naná Rovira and Carlos Ródenas were part of Trialogue, a trio with which they won various awards and recognitions. It was the addition of keyboards that gave them their current sound with Naná as the figurehead. Parminter's sound is close to early free jazz. A melodic and rhythmic free jazz without much stridency, with a taste for lively melodies that give way to instrumental virtuosity. The songs reach moments of great intensity. It is then that they give way to the most diverse influences and preferences of each of the band members. The electric sound of the keyboard evokes passages of progressive jazz-rock, a contained noise with the distortion of Carlos Ródenas' bass pedals. Of the songs included on the album, only 'Ininteligibilidad', written with Carlos Ródenas, breaks Naná's total authorship. There are two dedications to two musicians. 'Mr. P.S.' refers to the initials of flutist Pablo Selnik and is based on an original idea of his, while 'Nonchalance' is a tribute to his friend and instrumental reference, American saxophonist Paul Stocker, a pioneer of jazz/free jazz in Spain, from the early 1970s. 'Ethiomess,' with its echoes of Ethiopian jazz could mark a different direction, but it does not, and the same is true of 'Hiperbórea', a ballad inspired by South African jazz that gives the album its title. The coherence of the sound is evident in their live performances, perhaps because everything is similar in its differences and the overall sound prevails, strongly marked by the bass clarinet-keyboard tandem. The album is composed of original songs, although when they occasionally include a cover version in their live performances, it fits in with the group's sound. Thus, an Aylerian 'Ghosts', free and lively, is integrated without any problem."
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SHCD 168CD
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"The band showed up, four folks from three different spots on the globe -- Chicago (Vandermark, Reid); Nickelsdorf, Austria (Gustafsson); Philadelphia (Taylor). They assembled their gear and sound-checked at the studio. There was a four-way freedom at play, structures but liberties and no need for elaborate explanation. Everyone spoke the same shorthand. Cues were understood; timings were implicit and considered; space was made for chances to be taken. In creative music, you sometimes need to rehearse a band incessantly to get to a level of understanding, that 'condition of secrecy' that Inger Christensen speaks of in relation to poetry. Not so with this ensemble. Some scores with directions and motifs that specify the relationships, but also the relationships prefiguring their being directed, relationships between the people themselves, the standing understanding between Mats and Ken, who worked together extensively for the last 30 years including the quartet version of Gustafsson's AALY and of course the Brötzmann Tentet. The relationship between Chad and Tomeka including the cellist's Hear in Now Expanded and in Rob Mazurek's bands; the one between Ken and Tomeka including a quartet with Hamid Drake and Lemuel Marc; one between Chad and Ken in the trio Side A, with pianist Håvard Wiik; one between Mats and Tomeka dating back to a 2017 studio session that might someday see light of day. The relationships and their prepositions. Not only simple prepositions, like 'on' or 'in,' 'above' or 'below.' More subtle ones, like 'across' or 'through.' Relationships of duration and transfiguration. Not just 'since,' but 'until.'" --John Corbett
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SHCD 167CD
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"AALY Trio was named after the piece 'Lebert Aaly, dedicated to Albert Ayler' by the Art Ensemble of Chicago from their album, Phase One on the America label, released during 1971. In 1962, Albert Ayler left his home in Cleveland to work in Scandinavia where he recorded his first album, Something Different!!!!!!, with a Swedish rhythm section and produced by altoist, Bengt Frippe Nordström, who started his Bird Notes label with this document. During the early '80s Mats Gustafsson and Kjell Nordeson began playing together as a duo in their hometown of Umeå, Sweden. Things went into creative overdrive for the band when Peter Janson became the bassist for the group in 1995. It was also the year that Gustafsson first visited Chicago. The pool of musicians Gustafsson met there would not only impact the work of the AALY Trio but, over the course of the next five years, also the creative music scenes in both Stockholm and Chicago. In the quarter century since the members of AALY Trio were last in the studio together there have been countless performances and albums made by the core members of the band. Perhaps Eric Dolphy was wrong when he said, 'When you hear music, after it's over, it's gone in the air. You can never capture it again.' Because the path Mats Gustafsson began in Umeå forty years ago -- which includes five blazing years with the musicians on the album in your hands and everything mentioned above -- is called music. This path doesn't go in a circle. It's a curve, ever upward, always asking you to learn. The music on Sustain makes this evident, another basecamp on the ascent. Mats, Kjell, and Peter are in different creative territory now than in 2000, but with the rapport still there, and still blazing."
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SHCD 165CD
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"Futterman plays what he hears and hears what he plays. Joel Futterman (piano)."
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SHCD 163CD
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"Performed by three masters, this album lets listeners to view the ephemeral world of improvisation very near its zenith. Joel Futterman (piano), Jimmy Lyons (alto saxophone), Robert Adkins (drums, percussion)." Reissue of an old R+R/Bellaphon CD from 1990. Originally recorded live May 13, 1982 at Warwick Hall Newport News, Virginia
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SILK 153
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Featuring Guerino Mazzola (Bosendorfer grand piano) & Heinz Geisser (percussion). "Mazzola's approach to the piano insists on levels of velocity and density that inevitably invoke Taylor's playing, while Geisser's equally complex generation and overlay of percussion patterns extends traditions of polyrhythmic drumming that have found their modern incarnations in the playing of Elvin Jones and Milford Graves." Limited stock.
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