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©Laurence M Svirchev Some landscapes are so terrifyingly beautiful and forbiddingly austere that only the most masterful musicians dare navigate them and return home triumphantly. On Any Terrain Tumultuou, François Houle (clarinet) and Marilyn Crispell (piano) explore such vistas with a complex interplay between written and improvisational sections, periods of quietude released from dynamic harmonic . . . → Read More: François Houle and Marilyn Crispell: Any Terrain Tumultuous ©Laurence Svirchev There are only two ways to play the music of Thelonious Sphere Monk: the wrong way and the right way. Wrong-way musicians are generally from the Repertory School of jazz. They homogenize the music, blend the cream with the lean, and devoid it of its unique flavors and textural layers. But Monk’s compositions . . . → Read More: George Graewe, Marcio Mattos, Minchael Vatcher: Impressions of Monk Words and Photography ©Laurence Svirchev Gerry Hemingway has this smooth reserved body language. Sharply focused intelligence becomes obvious when one is close enough to observe his bright, penetrating eyes. When interested in a topic, he tilts his head inquisitively. His speech tones are of lower timbre and the velocity of words . . . → Read More: Gerry Hemingway -An Appetite for the Unimaginable: Transportive Experiences through a Perfect World Words and Photography ©Laurence Svirchev Lapis lazuli is a gem stone whose intensity entrances the eye and seduces the mind into a state of heightened awareness. The intensity of the blue’s specular reflections transmits powerful forces, potent stuff eligible for assimilation by an attentive soul. The diffuse reflections from the golden . . . → Read More: Robert Dick & Ursel Schlicht: Photosphere ©Laurence Svirchev Virtuosity in the jazz world is a given. Jazz players are what they are because they have mastered virtuosic technique and don’t want to live under the rigidly-exacting thumb of a concert task-master. They take their creative fancy elsewhere and go farther to that highest of art forms, improvisation. . . . → Read More: Mark Dresser Solo Bass: Unveil
©Laurence Svirchev Now approaching their fifth decennial, the principle studio collaborations of . . . → Read More: Miles Davis and Gil Evans: Complete Columbia Studio Recordings ©Laurence Svirchev A host of individuals in the history of jazz have had a unique, instantly identifiable sound. Think of Louis Armstrong, Earl Hines, Coleman Hawkins, Johnny Hodges, Cecil Taylor, or Paul Desmond, and just as easily think of many more. But here’s a difference between an individual having a sound, . . . → Read More: Kartet – The Bay Window ©Laurence Svirchev On this CD French pianist/composer Benoît Delbecq sits at a Steinway D-Model and improvises. The piano is played both in its natural state and “prepared” by placing carved twigs of different wood species and other materials under the strings. The recording techniques are advanced and the final outcome is . . . → Read More: Benoît Delbecq: Nu-Turn Words & Photography ©Laurence Svirchev In his 2005 book Some Hustling This!, Mark Miller quotes a critic writing in 1916 about a performance of the Creole Jazz Band held in Victoria. BC, Canada: “Nobody but six negro eccentric players could shatter so many rules of a well-integrated band and make it . . . → Read More: The Schlippenbach Trio: Jazz em Agosto, Lisbon 2005 Words and Photography ©Laurence Svirchev On a Monday morning François Houle, Michael Moore, and I met in the lobby of the Hôtel Compostelle. We crossed the rue du roi du Sicilie . . . → Read More: Benoît Delbecq: A Paris Recording Session January 16, 2000 Paris, France |
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