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
On my first encounter with Lon Moshe & The Southern Freedom Arkestra, I was immediately drawn to the group’s 1977 album title, Love Is Where the Spirit Lies. The difficult task of dealing with a fringe, complex, and sought-after album feels like encountering a big tree with old roots and wanting to explain how the
The Underflow is a relatively new trio formed by veteran improvisers Mats Gustafsson, David Grubbs, and Rob Mazurek in 2019. Their self-titled debut, recorded live in Athens at their first performance as a trio, has been followed up by Instant Opaque Evening, also recorded live during a string of European shows in early 2020. Instant
Ah sciamachy! My knot of mental shadows![1] “That which the dream shows is the shadow of such wisdom as it exists in every human, even if during waking state they may know nothing about it,” said the prophet and alchemist Paracelsus in 1531. We carry the shadow and with it, its possibility of alchemical transmutation.
The late 1960s was a white hot crucible of creativity in jazz. And much of the best was caught by Bernard Stollman’s ESP label. In addition to fairly well known work by Sun Ra and Albert Ayler the label was a treasure trove of the “second generation” of free jazz. And none was more deserving
