Otomo Yoshihide has been well-known as an avant-garde turntablist, and often compared with Christian Marclay, pioneer of disruptive turntablism in the New York downtown scene of the 1980s. However, Otomo’s expressive focus was much different from Marclay’s, and he has already changed his main instrument from turntable to guitar. Often aggressive, Otomo’s guitar possesses a
Citadels and Sanctuaries, the latest release from clarinetist and composer Jeremiah Cymerman, is a reflection on and tribute to the influence of 10 of Cymerman’s musical heroes. It is also, according to its liner notes, Cymerman’s “most accessible record to date,” which may come as surprise when reading the list of artists paid tribute here.
Review written by guest writer John Pietaro: Within the pantheon of new music that was birthed through jazz in particular, the political content has been brazenly, pridefully Left. Sounds of protest easily predate the artform as we know it, indeed slave poetry, field hollers, and the roots of the blues were foremost the folk art
Guitarist and composer Jessica Ackerley has been a compelling, distinctive, and dedicated contributor to various New York creative music scenes since her arrival in 2013. Employing an inclusive aesthetic and a strong collaborative drive, Ackerley has produced an impressive output of recordings spanning jazz, improvised music, experimental rock, and noise. Throughout this wide traversal of
Over the past few months I had the opportunity to talk with bassist and composer Nick Dunston about his work. As one of a new generation of players on the New York scene (and beyond), he has had a confident, growing presence. Cisco Bradley: What are your current projects? Nick Dunston: A few things! Referring
Jason Nazary’s June 25 release Spring Collection is one of many home recording projects undertaken around the world during the course of the Covid-19 pandemic and lockdown. In the drummer/composer’s own words, the record’s aim “was to capture the spirit of spontaneity and collaboration lost in the absence of live music.” Nazary accomplishes this aim
Not something you see every day; a review for a record that came out eight months prior. But well, here we are. I’d planned on reviewing Pardon My French months ago, but for several reasons, I could not bring myself to write it. Between dealing with pandemic-related whatever, reviewing records for The Wire Magazine, and
Ocelot is a collaborative trio featuring pianist Cat Toren, saxophonist/clarinetist Yuma Uesaka, and drummer/percussionist Colin Hinton. Their music is part of the increasingly prominent tradition of cross-pollination between jazz and 20th-21st century classical music, exemplified by composer-performers such as Tyshawn Sorey and Anna Webber. Though all three members of Ocelot are composers with distinct voices,
Mutual aid — a term coined by the Russian anarcho-communist Peter Kropotkin in 1902 — refers to systems of social organization based on reciprocity and cooperation rather than competition. Though such systems are old enough to arguably predate human society, mutual aid has gained considerable visibility in the ongoing pandemic. As the capacity of state
The more I listen to BRAHJA, the harder I find it to describe. Its musical atmosphere is dark, mystical, and intricate, like a visionary ritual crossed with film noir. The band’s forces combine to form a tempered maximalism, recalling other masterpieces of jazz composition, ensemble playing, and production, such as Charles Mingus’ Black Saint and
