Just in time for the end of summer, Leo Records rises one more time with some new material. Dig in!
Slava Ganelin plays the Korg MicroState and computer Dell while Lenny Sendersky is occupied on reeds, mostly soprano, alto and tenor sax, but there could be others. They do some free improvising for one entire long song, but Ganelin keeps it interesting as his workings on the keyboards create some rich pulses and workable themes and melodies. Sendersky’s tenor is breathy 
during some pulsed electronic rhythms just before the electronics create some murky waters that the reedist shrieks through. Some dramatic themes and melodies gradually turn to eerie atmospheres before the two end the marathon with some frisky jabbing that glides into a soft meditation. Quite workable for the ears.
Tim O’Dwyer playes sax, Carld Ludwig Hubsch 
brings along his tuba, Bassem Hawar adds the djoze which is like a middle eastern violin, while Carl Rosman’s clarinet and Saad Thamir’s percussion and voice round out the team for the five intuitive pieces. The sounds range from some festive Eastern European Klezmer-like sounds on “Below” to fun and festive dances with sighing reeds and dancing percussion on “The Past.” Some Middle Eastern strings and harmonies ruminate on “Above” and the reeds and horns gurgle on the joyful “The Future.” Sounds from National Geographic are heard on every page.
The group Rotozaza consists of Rudi Mahall/bcl, Nicola L. Hein/g, Adam Pultz Melbye/b and Christian Lillinger/dr. The sounds are a mixture of structure and free form ideas, as Melbye’s bass pulses through aggressive rhythms on “Anwendung Hezstarkender Mittel” and Lilinger’s rustling drums gurgle underneat the reads on “Der Hammer als Hammer.” High pitched clarinet harmonies with long tones pierce through spacious percussion on”Engel Mit Schutzanzugen” while hints of Russel Procope appear on the nimble and deft “Korper Aus Vakuum Masse.” Lots of blurps and squawks are found on “Gestell” and flying percussion bounces around on “Zeichen Sind Wir, Deutungslos.” Musical conversations.
Gareth Lubbe brings his viola and occasional voice to co-mingle with Simon Nabatov’s piano on a pair of suites and extra song thrown in for affect. The five part “Plush Suite” includes modern classical interludes in the beginning, before percussive voice, piano strings and viola strings get plucking and clucking away. Some whirring strings and screeching takes place during the “ In Be” Suite before some dramatic unison lines complete the opus. The closing “Psalm” is most impressive, with rich atmospheres created by the two. Spontaneous and yet controlled.
Has anyone made more recordings than tenor saxist Ivo Perelman? He’s simply amazing in his productivity, and while all on the free side, each has a different mood, thanks to his compatriots. This time around, he works with Mat Maneri/viola, Joe Morris/b and Gerald Cleaver/dr for some edgy originals. “Harsh Moon” includes his patented fluffy blowing with dreary string and rhythm accompaniment. Melancholia continues on ”Dance Matters” while edgy screeching from the strings and agitated bowing on “Catch 22” might put goose bumps on your arms. His subtones reach deep into the thick on “The Forest of Feet and Bass Drums,” as the team flows for almost fifteen minutes. Some bop pops up on “The Haunted French Horn” and fragments are pieced together n “Sound Healers.” If anyone in the band would look away for a split second, there would be a major pile up!
Leo Records