World of Jazz 522

On this show a selection of excellent new releases from Ivo Perelman & Matthew Shipp, Thumbscrew, Gentiane MG, Owen Broder, Anat Cohen, Michael Sarian, William Parker, and, Justin Purtill featuring Leo Genovese and Sean Conly. Also a dip in the archive for some music from John Surman.

Show Intro 00:00
Ivo Perelman and Matthew Shipp “Nine” from Fruition (ESP) 00:49
Thumbscrew “Survival Fetish” from Multicolored Midnight (Cuneiform) 05:48
Gentiane MG “Flowers Laugh Without Uttering a Sound” from Walls Made of Glass (TPR Records) 11:48
Owen Broder “Royal Garden Blues” from Hodges: Front and Center Vol. 1 (Outside In Music) 17:32
Anat Cohen “Baroquen Spirit” from Quartetinho (Anzic Records) 23:03
Michael Sarian “Maverick Road” from Living At The End Of The World (ears&eyes) 27:17
Ivo Perelman and Matthew Shipp “Six” from Fruition (ESP) 35:04
William Parker “Tails of a Peacock” from Universal Tonality (AUM Fidelity) 42:25
Gentiane MG “Mésanges” from Walls Made of Glass (TPR Records) 53:19
Owen Broder “Digits” from Hodges: Front and Center Vol. 1 (Outside In Music) 1:00:00
Anat Cohen “Canon” from Quartetinho (Anzic Records) 1:05:14
Michael Sarian “Cinta Marina” from Living At The End Of The World (ears&eyes) 1:08:21
Justin Purtill feat. Leo Genovese and Sean Conly “Simple Twist Of Fate” from Simple Twist (577 Records) 1:12:40
Ivo Perelman and Matthew Shipp “Four” from Fruition (ESP) 1:18:47
Gentiane MG “Little Tree” from Walls Made of Glass (TPR Records) 1:25:39
Owen Broder “You Need To Rock” from Hodges: Front and Center Vol. 1 (Outside In Music) 1:32:19
Anat Cohen “Frevo” from Quartetinho (Anzic Records) 1:35:41
Michael Sarian ” Living At The End Of The World” from Living At The End Of The World (ears&eyes) 1:39:45
John Surman “Quadrophonic Question” from Adventure Playground (ECM) 1:49:11

NOTES

Ivo Perelman and Matthew Shipp

The 18th duo album from Ivo and Matthew. Recorded by Jim Clouse on June 25th 2021 at Park West Studios

Thumbscrew

At the center of a spiraling musical universe, Thumbscrew is like a reverse black hole radiating brilliant constellations of overlapping ensembles. The all-star trio is at the core, and they’re marking their 10th year as a collective endeavor – 2022 – looking ahead to new sonic territory rather than taking stock of a prodigiously creative decade.

Celebrating this anniversary, Multicolored Midnight is the group’s seventh album, a set of 11 original pieces that oscillate between detailed composition, unbridled improvisation, and every gradation in between. It’s another step on an extraordinary journey by three of jazz’s most dauntless and resourceful artists.

releases September 30, 2022

Michael Formanek : double bass and electronics
Tomas Fujiwara : drums and vibraphone
Mary Halvorson : guitar

Gentiane MG

Following up on the potent musical message of her first two releases Eternal Cycle (2017) and Wonderland (2019), Montreal based pianist Gentiane Michaud-Gagnon (known as Gentiane MG) is excited to share her deeply immersive third outing, Walls Made of Glass. The album features MG’s longtime colleagues Levi Dover (bass) and Louis-Vincent Hamel (drums), both major voices of the Canadian jazz scene, in a tour de force collection of new original music. More than
ever, the band shares a deep bond that obscures the boundaries between written and improvised material. Walls Made of Glass released worldwide on Friday, September 23rd 2022 on TPR Records

Owen Broder

As influential as he’s been on the history of the jazz saxophone, Johnny Hodges is usually discussed wholly in light of his key role in the Duke Ellington Orchestra. On his second release as a leader, saxophonist Owen Broder shifts the spotlight to focus more intently on the legendary altoist. With Hodges: Front and Center, Vol. 1, Broder and his gifted quintet explore nine compositions associated with the Rabbit (the nickname that Hodges earned early in his career and the source of several conflicting stories), culling pieces both from the Ellington repertoire as well as from the saxophonist’s often overlooked catalogue of small group albums.


Due out October 14, 2022 via Outside In Music, Hodges: Front and Center is hardly an exercise in
nostalgia. On his acclaimed 2018 debut, Heritage, Broder offered striking new interpretations of American roots music from Appalachian folk to early blues, spirituals to bluegrass. He takes a similar approach to Hodges’ music here; the interpretations are not radically altered, but Broder’s insightful arrangements honor the beauty and elegance of the originals while lending them a deeply felt modern vibrancy.
Joining Broder are trumpeter Riley Mulherkar, pianist Carmen Staaf, bassist Barry Stephenson and drummer Bryan Carter

Anat Cohen

Releasing October 7, 2022 on Anzic Records

 Having explored the world of larger ensemble writing and performance with the acclaimed Anat Cohen Tentet (Happy Song, Triple Helix), GRAMMY-nominated multireedist and composer Anat Cohen (“bringing the clarinet to the world” — Terry Gross, Fresh Air) shifts her focus to a smaller, more intimate group sound on her newest release, the endlessly colorful Quartetinho (pronounced “quar-te-CHIN-yo,” i.e., little quartet). The group’s New York-based players, all drawn from the ranks of the Tentet, hail from different corners of the globe: Cohen and bassist Tal Mashiach from Israel, pianist/accordionist Vitor Gonçalves from Rio de Janeiro, and vibraphonist/percussionist James Shipp from the United States. What they share is a deep love for music in all its heterogeneity. It’s all amply documented on Quartetinho, which includes originals by Cohen, Mashiach and Shipp along with material by the great masters Antonio Carlos Jobim, Egberto Gismonti and more. The result is boundlessly melodic and lyrical, with a wide array of timbres and subtle details of orchestration. In most cases all four players created arrangements together as a group, and each brings to the encounter their respective gifts on multiple instruments.

Michael Sarian

Living at the End of the World is trumpeter/composer Michael Sarian’s follow up to his 2020 acclaimed album New Aurora. Inspired by trumpet greats such as Tomasz Stańko, Enrico Rava, and legendary Armenian-American drummer Paul Motian, it marks the trumpeter’s second foray into a style that explores the intersections between composed music and spontaneous creation, negotiating melodies and harmonies with free improvisation. Joining him on this journey are longtime collaborators, pianist Santiago Leibson, bassist Marty Kenney, drummer Nathan Ellman-Bell, and the acclaimed Chilean guitarist, vocalist and composer, Camila Meza, who lends her artistry on “Cinta Marina.”

William Parker

William Parker’s Universal Tonality documents an epic performance which brings his titular concept to full, vibrant life. An exquisite example of this system in practice, it features a truly once-in-a-lifetime assembly of creative music luminaries and legends.

Clocking in at nearly two hours and featuring six extended pieces flowing across two discs, this Universal Tonality happening took place in December 2002. Parker invited 16 musicians of various ages, cultures and musical backgrounds – to join him in an experiment of “breathing together.” Many of them met on stage for the first time that evening. While he provided a score (wonderfully illustrated pages from same are included in the package), all were advised that there need not be adherence to it. Parker’s hope with this approach is that each musician will trust their own instincts — and those of the musicians around them — enough to let the sound find its shape in real time. Ranging from roof-raising big band to intimate cross-cultural exchanges, that constant current of inspiration, and open, receptive communication was wholly present at Roulette that night, and is on full display on this magical recording.

Justin Purtill feat. Leo Genovese and Sean Conly

Justin Purtill: Guitars, voice,
Leo Genovese: Piano
Sean Conly: Bass

“I had absolutely no idea how I wanted the music to sound that day in the studio. None. I only knew how I did not want it to sound, and how I did not want it to feel. I didn’t want it to be pretentious or slick. I didn’t want it to seem safe or to feel precious. I like music that’s wild. That feels unrehearsed. Music that’s full of the mysterious and the humorous and full of sex and wonder and dance and all the other things that make life interesting. I guess what I mean to say is that my music is subtractive in nature, not additive. I find what I like only by discarding what I don’t. Also, the reason I do what I do and play the way I play reveals itself to me every time I pick up the instrument. It’s not a conscious effort at all”

John Surman

A 1991 recording on ECM features John with a stunning line-up of Paul Bley, Gary Peacock and Tony Oxley.

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s