Way Below the Surface
…ream, it’s a very happy feeling that can be heard in the essence of the music.” For bios and more information: arvehenriksen.com, delbecq.net, www.larsjuul.eu, plush-internet.org/artist_arguelles.htm…
The One Constant
…voices are impressive. The improvisations flow out of the composed material organically, and the roles of each musician are varied creatively from song to song. 3) Most importantly, the music has depth and staying power. Personally I think this has something to do with the contrast between the energy and cohesiveness of its group dynamic and its dar…
Recent Developments
…d rhythmic material came rushing out in those nine hours. [But] it took a couple months [spent] mainly revising the counterpoint…to try and balance the orchestrations, to spread the materials throughout the group to exploit as many instrumental textures as I could… The wide range of timbral combinations is at the heart of the recording, and is refle…
Circles and Calligrams
…similate the concepts is very long, I’m very slow when it comes to learning new combinations even if they’re mine. So I also spent a lot of time revisiting older compositions – the idea being to arrive at the recording studio and forget myself in the playing.” Both records are beautifully engineered and mixed by Etienne Bultingaire, “whose ears deli…
Smart Matter
…trippy and their sax/guitar/drums lineup creates an airy feel that is used to best advantage on Smart Matter’s longer excursions. Tenor saxophonist Jonathan Lindhorst is the jazz maven of the group while electric guitarist Ryan Butler adeptly straddles a heady jazz/rock intersection, not through searing blues-based guitar licks but more with delica…
Canada Day III
…leader concepts – Gerry Hemingway and John Hollenbeck are examples that come to mind… Rock, textural free improvisation, African and Diaspora drum traditions and 20th century Western music are as important in my concept of jazz drum language as bebop and early jazz approaches… I’ve been studying Cuban Bata drumming for the last year, which keeps me…
Solos
…bels. “…staggeringly beautiful…” — New York Times **** “[Holcomb and Horvitz] understand what makes music interesting, organic, and listenable.” – Jeff McCord, DownBeat “[Holcomb] is a category unto herself, a pianistic analogue, maybe, to the guitar approach of fellow Seattle resident (and periodic collaborator) Bill Frisell…a music that demands…
Canada Day IV
…nceptions series in Brooklyn on July 1, 2007 – Canada Day [Canada’s national holiday]. My original intention – really, what motivated me to move back to New York in 2005/2006 (I lived in New York from 1998-99 before moving to California for seven years) – was to have a working band. I wanted to find the folks who would work together well, stick with…
Jazz Trash
…Trio. He co-leads and composes for the collectives Human Feel and Pachora, is composing music for upcoming projects including a recording with Dewey Redman and Ed Schuller, and has recently performed with Jane Ira Bloom, Lee Konitz, Fred Hersch, John Zorn, Hank Roberts, Herb Robertson, Mark Dresser, Jerome Harris, Marc Ducret, Hal Crook, Django Bat…
Vancouver ’08
…terms of the focus shifting, and I think that all of the compositions reflect that this time. There’s almost a different role for each instrument in every composition. In J. Anthony’s ‘Planting’ the drums are the main soloist; in Tronzo’s ‘The Truth’ he and I are basically the rhythm players, the bass is the melody instrument. It’s a way of composi…
