Where have I been for the past 25 years?
Here’s a label that’s been putting out material dedicated to “Free Jazz, Improvised Music, World Music-Freedom of Music” and has survived since Bush 41 was in the White House. I’ve never heard anything by them before, at least that I knew of, and am quite impressed with these latest three releases. Check them out!
Pianist Howard Riley glides across the keys with aplomb on lovely solo album of nine originals and on e standard. Lovely and ruminating pieces such as “Descending Thoughts” and the title track have a charming grace about them, while there’s an inquisitiveness to his touch on “East West” that takes you on clever journeys. Shadowy figures are illuminated on “Haunted” while he gets playful with both hands on “Two Part Invention.” A reading of “The Folks Who Live On The Hill” is subtle and alluring, while his use of space is prismatic on “Just Maybe.” Well conceived!
Consisting of Mattia Dalla Pozza/as, Filippo Vignato/tb, Joseph Circelli/g, Rosa Brunello/b and Simone Sferruzza/dr, the Omit Five has a heart in the post bop tradition, with gleanings from the freer side of the street. Boppish pieces such as “Pomeriggi Ameni” display clean lines from the horns as well as linear guitar musings, while the two horns unify for some harmonious moments on a chanting “I Wanna Feel Nasty” and gently striding “Family.” Brunello gets spotlighted in some solos and duets on “Berlin June Walk” and “ Uyusukluk” while the whole team gets down and funky on “Anni Luce.” Vignato’s trombone gracefully glides throughout, especially on the flowing “Pina Baush” making the whole a greater piece than the separate parts. Fresh and fragrant.
Primitive Arkestra is subtitled “Directions in Music by David Haney,” who is the pianist and leader of the ensemble that includes a rotating team not limited to Julian Priester/tb, Rosalyn DeRoose/cl, Marc Smason/tb-digerydoo, Frank Clayton/b, Roy Campbell/fl, Adam Lane/b, Matt Lavelle/tp, Frankie Wilson/ts and Frank Clayton/b. The material is culled from various concerts from 2008 to 2013 in Washington and New York states. The pieces range from under two minutes as on the rubato “One”Rutless Opening” and reach as far as over 15 as in the deeply swinging and happily pulsating “Dolphy’s Hat” which includes some wonderful moments with Clayton ‘s bass, Priester’s norn and DeRoos’ stick. Other shorter pieces such as the chirpy “L.T.Ruckus” and the pulsating and restless “Leopard’s Boulevard” have some wonderful ensemble moments along with the late Roy Campbell’s flute on the former, while long and anguished tones dominate “Desolation Row.” Free, but with minimal cacophony to distract.
SLAM Productions