Author Archives: DJ Glovebox
Bassist Avery Sharpe assembles a big band and works with a gospel choir to perform the music of Rosetta Tharpe, the godmother of rock. The tracks groove and follow the contemporary stage band format. But the meat is in the tracks with the Meli’sa Morgan taking on Tharpe’s vocals. Some great ripping solos buried in […]
Bari sax-led crew with a collection of originals that swing without remorse. The band drives and the playing is tight. Sometimes I wish Lustig would unleash it a little bit, but his restraint is offset by a band that unloads when necessary. Play “Change is Comin’” (1), “Freetown” (2), “Serving It Up” (6).
Creative jazz originals that navigate propulsive rhythms, Richardson’s melodic alto sax hovering just above. Great group playing and contemporary production techniques. Many of the tracks take on a cinematic quality, mood pieces that explore the gentle textural edges of the ensemble. Beat driven and melodic. Play “Creeper” (2), “Locked out of Heaven” (4), “Time” (10)
The jazz songbook presented in a contemporary jazz combo setting. Kessler’s voice is confident and deep while maintaining smooth delivery and phrasing. Arrangements and solid musicianship do a good job of breathing some life into this collection of well-worn standards. Play “The Gal from Joes” (4), “The Frim Fram Sauce” (8), “Moonglow” (12)
The first track, “Harmonies of Form and Time” is a dense mass of notes wandering, for six chamber orchestras and six soloist. The second track, “Harmonies of Time and Timbre,” thins it out a bit without losing the sense of be-wanderment.
Rigoler employs improvisation as the seed of her compositions. These works, mostly for or containing flute, explore a sonic textures related to the breath and recording production techniques. Great skittering chaos, gentle and insistent.
Perich’s gently crispy electronics pair so perfectly with triangles and hi-hat. The percussive attack, subtle tone melding into the nature of his signature electronic sound is very satisfying. Which is good, because this is 45 minutes long.
A stereo recording of a piece intended for 10 violins and 10 speakers arrayed in an arc. Simple, fluttering textures that eventually yield to a plain and undecorated, though still beautiful, melodic fragment. The electronic track makes no attempt to meld or hide itself among the violins. A cheery, chirpy friend that takes over about halfway through, […]
Three pieces for tape and viola or chamber ensemble and tape. Tape parts are great collections of field recordings and concrete sounds: mangled text, helicopters, the sea, weather, atmospheres. The result is intriguing and cinematic.
Solid ensemble playing in this collection of standards-style compositions. Pleasant saxophone tone while not dominating the group. Charts push boundaries just enough to add interest without getting too challenging to follow. Play: Perspective (4), The Story of Fiona (8), Waiting (2)
Long, open, electric, atmospheric, with groove. An aptly titled disk. Play all.
The opener “Chan Chan” (1) shifts widely between extreme staccato and smoother playing, an ensemble giving a tour of the neighborhood. The rest of the album pursues that kind of adventure while maintaining a grip on . Slides into simple pleasantness now and then but a little pleasantness won’t kill you. Play: 1, 3, 5, 8.
Disembodied tone, pitch, and noise commingling in an abstract void. Sparse but not empty. Great example of mid-century art music. Play all.
Low single-reeds drone together in a uniform sound against a texture of computer beeps. A strangely comforting sound.
High speed minimalist-ish piece for harpsichord and electronics. A handful of notes at a time repeated and referenced in electronics blending the two sounds in a sort of mantra. Daniel Walden performs what must be a grueling harpsichord part.
A group of projects joined by the fragment-based compositional process of their author. Instrumentations vary from flutes to vintage synthesizers to choral voices to percussion. Each piece focuses on small components of sound arranged, re-arranged, repeated, and developed. All fun, but give “What They’re Doing” (4) a try.
Documents some recent works for theremin and piano. Pieces are of a style that will be familiar to lovers of late Romantic music yet maintaining enough interesting texture to be enjoyable to more contemporary ears. Much fun to have Carolina Eyck to put a fresh approach to “radio music” artistry into the world. Play “Intermezzo 2” (8).
Opens with some old-timey New Orleans sound, complete with vinyl pet sounds. Rest of the album is contemporary jazz with a heavy bottom end. Bromberg does much of the drumming as well as the bass and piccolo bass (promoter takes pains to mention that there are no guitars on this album). Fun cover of “Don’t Stop ‘Til […]
Dissonant, resonant bodies on the verge of being but never obtaining enough form to become. Like a half-remembered thought not quite finding a way through but still occupying the mind. Percussion and upper woodwinds tends to poke through a firmament of low brass and metallic percussion reverberations. Murky and amorphous atmospheric music. Play all, of course.
Standards piano jazz played nicely and well recorded. Wayne Shorter’s “Yes Or No” done a little more up than usual with subdued drum and bass backing. “Up Jumped Spring” with a nice intro and pleasant articulations. Piano jazz.
Mostly percussion and electronics. Great blending of these resources so that it becomes difficult to discern between them and we just end up with a single mass of pitches and noise. Ambient and cinematic. RIYL: If you like interesting sounds in your earholes. Play “Replicate Pt 1” (1), “Holographic” (5), Pixelated (6)
Latin, dark, complexity without chaos. Drum textures not to be missed, all players hold it down though. Fun integration of synth and unusual song structure opens this stuff up wide. Lots to like, including “Future Imperfect” (4), Elliot Smith’s “Can’t Make a Sound” (7), Animal Chin (6).
An album in tribute to Egyptian Mawal singer Oum Kalthoum. The album is one song (lasting around an hour) segmented and arranged for jazz quartet. The Arabic and jazz idioms blend into a sinuous and modal experience. Play any, play all.
Modern big band: electric bass in the rhythm section, groove/rock oriented. Parade jazz march groove on Intro…Move Your Rug (Track 1). The Mad Hatter Rides Again (Track 3) includes some interesting man-bites-dog moments of imitating sample/scratch DJ technique.
Pleasant Latin jazz. Some nice flute work by Steve Slagle: the Eyes of a Child (track 2) for the flute melody. Tabasco (track 5) for the fun winding phrase and flute solo.