Posts Tagged ‘AAJ’

John Kelman (AllAboutJazz) on Soft Machine

Monday, March 19th, 2007

Good reading: John Kelman’s reviews of all the Soft Machine remasters at AllAboutJazz. Believe it or not, when I recently bought the new remasters of Fourth through Seven, it was the first time I’d heard any of these albums. The first three I’d heard, as well as a couple of the archives, but nothing after Third. So far, I’ve only managed to give Fourth the attention it deserves, and I dig it, but a single cursory listen to Fifth makes me think I’ll like it more. Funny how that Fender Rhodes really makes the sound much more immediately accessible for me. Anyway, I’m looking forward to familiarizing myself closely with all of these albums. I think my experience with listening to jazz over the past several years has probably made them much more palatable to me than they would have been before.

A couple jazzy items

Tuesday, March 14th, 2006

There’s a really nice Terje Rypdal feature interview/article at AllAboutJazz, discussing his influences from Miles Davis‘ electric period (see also their review of Vossabrygg). I got Vossabrygg, his latest album, a couple weeks ago — part of it is a pretty overt tribute to Bitches Brew — and have kind of mixed feelings about it. There are a couple tracks with heavy electronic sampling that I like the best; although the electronics don’t exactly seem cutting-edge, they do work nicely as a kind of 21st-century extension of the electric, fusionish mentality of Bitches Brew.

On another jazzy note, I’m going to see The Claudia Quintet tonight here in DC, and am bringing a bunch of folks with me. I’m a bit lukewarm about I, Claudia and haven’t heard their new Semi-Formal, but nevertheless I’m pretty excited for the show.

AllAboutJazz talks to Tim Berne

Tuesday, February 7th, 2006

All About Jazz has a nice, and very lengthy, interview with Tim Berne that hasn’t seemed to get much attention. He talks extensively about his recent projects (all of them — Paraphrase, Big Satan, Hard Cell, Science Friction), lavishes praise on drummer Tom Rainey, and offers some fascinating nuggets about his compositions and his groups’ free improvisations. For instance:

I’m really playing thematically; even if it’s super-abstract, I’m always remembering what we did and where we’re going, and kind of relating whatever ideas of composition and drama and tension and release that I do in writing. The thing is, you’ve got two other people in the conversation, so that’s what makes it interesting—how everyone else interprets your decisions. And you’re making those decisions really quickly. So it’s great when everybody’s kind of ignoring each other in a very convincing way.

Ha- sometimes his interviews are as knotty and difficult to decipher as his compositions.