Swami LatePlate : "Doom Jazz"

(Veal, 2007)

Although Jamie Saft is best known as a jazz pianist, especially for his work with various Masada projects, he's a rocker at heart who lists ZZ Top among his favorite bands. Swami LatePlate—his duo with drummer Bobby Previte—seeks to a degree to cross the divide. In one sense a piano trio, with Saft doubling on electric bass, the project borrows as much from heavy rock sensibilities. Their debut album and the first on Saft's new label Veal, falls closer to the jazz side, but the title indicates the process that got them there.
Using doom—a slow, foreboding style of heavy metal—as a template, the duo crafts a set of songs that creeps along powerfully. The themes are simple, generally carried by subdued bass lines and ornamented by the piano like salt on a glacier. What jumps out most is Previte's drumming. Every cymbal vibration and snare snap leaps to the foreground and, with rare exception, decays before the next strike, as much a testament to Previte's assured playing as Saft's engineering. The sound throughout is bright and super present.
Ultimately, the record bears more than a little resemblance to the great and longstanding Australian trio The Necks. Each moment is its own event, each note frozen in amber. Regardless of the rock modeling, the disc is likely to satisfy Saft and Previte's audiences; and given the elegiac, actually beautiful work of some doom bands (the solo piano on Corrupted's "Llenandose de Gusanos," for example), it could appeal to fans of the fringes of metal as well.

Kurt Gottschalk (All About Jazz)

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The Bang : "Omonimo"

(Nueva, 1991)

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Pigpen : "Daylight"

(Tim/Kerr, 1997)

I had been living in Seattle a short time when Jerry Granelli, the great drummer, who was teaching at Cornish at the time, called me up. He was making a record with Anthony Cox, Bill Frisell, Robben Ford and Kenny Garrett and he wanted me to write an arrangement or two. He was thinking about the book Coming Through Slaughter, the great novel about Buddy Bolden, so I wrote a tune for him called In That Number. The tune was a bit tricky, so Jerry asked if he could come over with a couple of local guys and rehearse it ahead of time, since the “real” band wouldn’t be arriving until the day of the recording. He arrived with Phil Sparks, a Seattle bass player I have worked with many times since, and Briggan Krauss, who arrived with blue hair as I recall. Briggan and I became fast friends. I was and still am a huge fan of his alto playing, and I think that he may have the most original concept on the alto of anyone of his generation. Through Briggan, I met a whole crew of folks that were going to Cornish at the time, all of whom became musical partners in time…Tim Young, Geoff Harper, Mike Stone, Eyvind Kang, Reggie Watts and more.
I met Fred Chalenor through Fred Frith and Amy Denio, and he was floating between Portland and Seattle. He had been the last bass player in The President, and I was ready to put that band to rest and start something based in my new hometown. Briggan recommended Mke Stone. Musically, Pigpen was influenced by my tenure in Naked City, and my long time association with John Zorn more than any other project I have ever had. Actually I take that back – it was Naked City, and not my long time association with John. I played piano in jazz and blues bands, but keyboards and organ for me were mostly instruments I had come to use in more open situations. I had developed a language that I was very comfortable with, but in Naked City I was called upon to play keys on all styles of music, often following some stellar solo by Frisell, and on a DX-7 to boot. By the time the band broke up I felt I was just getting the hang of it. Also we had so many tunes that we often didn’t get a chance to dig into any of them, which was a blast, but also very challenging. So when I started writing for Pigpen I wanted to keep working on these challenges, and I also had in mind the aesthetic of the other guys in the band, and especially Mike and Briggan who were very young.
I found this generation curious (they were all about 15 years my junior) because they were very literate about jazz through Coltrane, and familiar with current trends at the time, including my own work and other “downtown scene” types, but they tended not to know a lot about the AACM, Art Ensemble, Cecil Taylor, or for that matter all the important Dutch, English and other international improvisers. Also we came from two very different eras of rock music, so I was suddenly surrounded by Black Sabbath and AC/DC fans. Mike Stone was particularly well versed in this milieu, having grown up in Bremerton WA, home to the naval base. When he conjured up the spirits of what he so eloquently termed “butt-rock” it rang true in a way that many similar attempts by various jazz drummers sometimes didn’t.
We made an EP, 2 full length CDs and a live CD for Tim Kerr – Halfrack, Miss Ann, Daylight, and Live in Poland. We also did a 7 inch for Tim Kerr, and V as in Victim for the AVANT label. Pigpen performed a few European tours, and some gigs on the East Coast, but mostly we played in the Northwest and down into California.
Over time the Naked City influence seemed to wear away and I think both Miss Ann and Daylight really represent my favorite work the band did, although a lot of fans are especially fond of Live In Poland. My daughter’s favorite track is Kind of Dead which is the A side of the 7”. The piece used a sample from the first Grateful Dead album and some chords from Kind of Blue…hence the title.
And yes, PIGPEN was named for the keyboard player in the Grateful Dead.

by Wayne Horvitz himself on his blog.

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Elliott Sharp + Bobby Previte : "The prisoner's dilemma"

(Grob, 2002)

They have known each other since 1973 and since then have played together in numerous groups and ad-hoc combination, there have been countless recordings and still they have never made a duo record together. We're taking about Elliott Sharp-guitarist, multi-instrumentalist and composer-and Bobby Previte-drummer and percussionist.
That is reason why The Prisoner's Dilemma sounds like a conversation between old friends about plans for the future and stories from yesterday, but at the same time sound new and unheard-of. It is a conversation that has never been carried out in public before in this breadth and with this love of details.
Of course, neither Previte nor Sharp care about trends or hip attitudes, they know each other too well to do that. And moreover, they draw their music from an extremely rich history. Both are influential figures of the New York Down Town scene-from the very beginning. They haven't just played with the greats (John Zorn, Bill Laswell ...), but they themselves count among these musicians, without exception. In addition they have proven themselves as band leaders, label makers and composers, they helped make The Knitting Factory what it now is, and now, where they have passed their 50th year in the best health, they have enough energy to take on new large project.
The Prisoner's Dilemma is such a project. In the foreground is the groove. No, in the foreground is the layering and condensation of rhythms and sounds. Or does one have to speak of sublime flow that they celebrate and that reminds one of Can or on the abstract projects of the SST family?
The Prisoner's Dilemma cannot simply be typecast; too much happens, too much rocks at the same time. Never does the music, however, at any point in time, take on an arbitrary character. Seldom has one heard a grooving improvising duo play so resolutely. They don't make any false compromises. If the consequence out of their interaction means "noise," then they take it up and the music is exactly that: an outbreak of energy, a first-class power play. Bobby Previte and Elliott Sharp can also let the things run, laid back, they can allow themselves to cite musical-historical references without seeming so obvious or eclectic. As said, both have a lot to tell. The Prisoner's Dilemma presents the highlights of their conversation.

(from GROB site)

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Steven Bernstein + Marcus Rojas + Kresten Osgood : "Tatoos & mushrooms"

(Ilk Music, 2008)

Featuring Steven Bernstein on trumpet & slide trumpets, Marcus Rojas on tuba and Kresten Osgood on drums. Multi-bandleader, arranger and trumpet hero Steve Bernstein never seems to rest. Besides running Sex Mob and the Millennial Territory Orchestra, he has four fabulous discs on Tzadik and has worked with Lounge Lizards, Kamikaze Ground Crew, Max Nagl's Big Four, Satoko Fujii and Mario Pavone. He was also a member of an early downtown trio called Spanish Fly with Dave Tronzo and Marcus Rojas, who still get together on occasion when Tronzo is in town. Since Mr. Tronzo has relocated to the Boston area, Spanish Fly plays gigs with guest members like Ned Rothenberg. Hence this new trio with Marcus Rojas and Danish drum wiz Kresten Osgood, who seems to get around and appears on more discs than I can count. It is Kresten who is the main composer on this disc.
The very first sound you hear on this disc is Marcus playing his tuba like a dijeradoo, making this spooky hum/growl. Besides four originals by Kresten, there are a few select and diverse covers by Charles Brackeen, Thelonius Monk, Charles Mingus and Hank Williams. Charles Brackeen's "Prince of Night" starts things off and is a perfect opening piece. It has a peaceful, spiritual vibe and a delicate, somber melody. Kresten's skeletal yet seductive "Hope for Denmark" shows how to set the scene with a minimum of notes. It reminds me of how the blues works best with a handful of select notes, where each one counts. Marcus Rojas is a master tuba player with his own distinctive sound and approach. He starts Monk's "Thelonius" by rubbing and tapping on his tuba while he hums of just plays a certain eerie notes. When he switches to the bass line, he sounds totally old school and filled with friendly swagger. "Scaramanga" is an eerie, spacy improvised trio that floats freely and thoughtfully. Kresten's drums are recorded with breathtaking care and are at the center of "Abington". His mallet use is sublime and works well with Steve's haunting muted trumpet and Marcus cosmic droning tuba. Initially I thought that there is nothing that connects Mingus' "Eastcoasting" with Hank Williams' "I'm So Lonesome I Could Cry". Both were written in the fifties and played next to each other, they both evoke a certain timeless quality, especially the way the trio turn Hank's song inside out and sent it to the outer space. The feeling that I get from this gem is that it is Kresten that called the shots and organized to session. This is indeed a wonderful job from all three members of this phenomenal trio.

Bruce Lee Gallanter (Downtown Music Gallery)

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Michael Moore trio : "Holocene"

(Ramboy, 2008)

As a member of Amsterdam's venerable ICP Orchestra, saxophonist Michael Moore's musicianship and playfulness can be assumed, a part of the raconteur spirit that unites the members of Misha Mengelberg's ensemble. Outside the ICP, Moore is involved in a number of projects, as diverse as they are satisfyingly, realized. From the Bob Dylan interpretations of Jewels & Binoculars to the offbeat Available Jelly and his longstanding Clusone Trio with Han Bennink and Ernst Reijiseger, Moore's wide-ranging interests never lack a sense of full commitment to the project.Moore seems to enjoy three-piece settings. Along with Clusone and Jewels & Binoculars, Moore has released two records (on his Ramboy label) with Fred Hersch and Mark Helias, and now premieres a great triad with Guy Klusevcek and Erik Friedlander. The title, Holocene, comes from the Greek word meaning "entirely new," but as Moore explains in the brief liner notes refers here to the holocene epoch, the geological period between the last ice age and the current day. It's a lot of temporal ground to cover, but the 13 tunes here, all composed by Moore, are sweepingly romantic. The rich, wet midrange of clarinet, accordion and cello can't help but evoke rainy afternoons and red-wine dinners, melancholy and nostalgia, and Moore is deft enough to hide his sentiments inside the music, rather than smearing them across its face. Moments of abstraction are mirrored by segments of sheer loveliness.

Kurt Gottschalk (All About Jazz)

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The Fell Clutch

(Animul)

The Fell Clutch feature Ned Rothenberg on bass & regular clarinets & alto sax, Stomu Takeishi on fretless electric bass, Tony Buck on drums and Dave Tronzo on slide guitar (3 tracks only). There was rave review of this quartet playing live in Brooklyn last year by Andre Henkin in All About Jazz, so I've been eagerly awaiting this disc to arrive. And what an amazing and unlikely downtown all-star quartet this is. I recall Ned Rothenberg sitting in with Spanish Fly (Tronzo, Steve Bernstein & Marcus Rojas) in the recent past and fretless bass god, Stomu Takeishi (Threadgill's Make a Move & Myra Melford) has been a longtime partner with Tronzo in his trios/duo throughout the years, so that's where these connections were made. Australian drum wiz, Tony Buck (The Necks), has been coming to town pretty often in the last few years and has played at a couple of Zorn's monthly improv sessions at The Stone, which is where this quartet first played together. Enough history. Which brings us to this colossal trio and quartet date.
The Fell Clutch love to twist its grooves inside-out. Ned establishes the groove on the opening piece, "moment of reloading" on his bass clarinet with Tony playing skeletal drums, Stomu throbbing those cool bass swirls and Dave playing his fractured slide sounds. Stomu's sly, distinctive fretless bass sound starts off "life in your years" with Ned's sumptuous clarinet and Dave's haunting slide slowly swirling around one another, a superb gem. What is most wonderful about this disc is that although it is mostly improvised, this trio or quartet sound as if they are playing mainly charted pieces, so focused is the overall sound. On "food for a rambling", Ned sets up an odd groove with a bent sax -line that he repeats and twists into odd shapes as he circular breathes with the bass and drums punctuate his groove. It's always great to hear Tronzo make his guitar talk, which he does on a number of these pieces with his wah-wah slide playing. I dig the way the guitar, bass & drums often set up these great little grooves, sometimes a bit bent but always infectious in one way or another. "epic in difference" is in fact an epic-length piece that begins with immense suspense, floats eerily with Ned playing dijeradoo-like bass clarinet. The bass and guitar sound like mutant ghosts as Tony plays alarm clock-like cymbals. It builds in intensity as it develops, feeling like some sort of ritualistic dance of the spirits. This is a most mesmerizing journey through some dark lands. An awesome endeavor from a fine quartet downtown's best.

Bruce Lee Gallanter (Downtown Music Gallery)

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