Thursday, July 23, 2020

Jeff Cosgrove & Scott Robinson - Hunters and Scavengers

Styles: Jazz, Post Bop 
Year: 2018
File: MP3@320K/s
Time: 44:25
Size: 103,3 MB
Art: Front

(2:26)  1. Eyes of the Hunter
(3:01)  2. Don't Look (Just Run)
(5:30)  3. Patterned Behavior
(5:43)  4. High, Low
(0:38)  5. Instinct
(2:54)  6. Field Test
(5:10)  7. Rays of Dawn
(6:39)  8. Simple Justification
(6:32)  9. Song of the Cuddle Fish
(5:47) 10. Lonely Woman


In the 1980s, artist Jenny Holzer created short, pithy statements projected by LED lights in museums and onto Times Square. Her now famous "Abuse of Power Comes As No Surprise" text sums up not only the #MeToo movement and the #BlackLivesMatter cry, but also to some extent, the music industry. The vertical construction of many jazz ensembles, like in corporations, gave us a leader with an often interchangeable rhythm section. This trend toward verticality began to be reversed in improvised music, creating a more democratic effort with leadership roles spread across the group. This horizontal approach is at the forefront of Hunters & Scavengers, a trio recording by Jeff Cosgrove, Scott Robinson, and Ken Filiano. It is the embodiment of a cooperative improvisation outfit. Drummer Jeff Cosgrove has turned heads of late with his work with Matthew Shipp, William Parker, Ivo Perelman, and Mat Maneri. His approach is to act more as a colorist, than a pulse generator. That approach suits bassist Filiano just fine. A veteran of nearly 200 recordings with musicians like Tony Malaby, Connie Crothers, and Anthony Braxton, his proficiency equals that of Barry Guy, Drew Gress, and Mark Dresser. Then there's saxophonist Scott Robinson, who might be the most underrated multi-instrumentalist in jazz today. His command of a menagerie of horns is on par with that of Anthony Braxton and Vinny Golia.

What this trio accomplishes in ten tracks, nine improvised and one by Ornette Coleman, is the concept of a republic. This equality amongst its members might have begun in Bill Evans' trios where Scott LaFaro and Paul Motian where freed from keeping time, but it has reached a second zenith here in these pieces. A piece like "Simple Justification" roils with a wintery covering of bowed then plucked bass, cymbals like tiny birds, and the plaintive calls of Robinson's tenor saxophone. Together, as one, the music flows, streams, and fills space with an almost unconcerned naturalness. The same is true of "Song Of The Cuddle Fish." Working to make a soundscape, the trio creates eerie textures and "Field Test," in which the emphasis appears (if this is possible) to be more of feel than sound. If you were to listen to this recording, it might be best to start with Ornette's classic "Lonely Woman" as the key to unlock the remainder of the music. Sans a leader, the melody is played by each musician as if they were charged with holding up all the tent poles of the composition. The music is a common cause here, and the three are in continuous service of the sound.~ Mark Corroto https://www.allaboutjazz.com/hunters-and-scavengers-jeff-cosgrove-scott-robinson-ken-filiano-grizzley-music-review-by-mark-corroto.php

Personnel: Jeff Cosgrove: drums; Scott Robinson: saxophone; Ken Filiano: bass.

Hunters and Scavengers

Johanna Summer - Schumann Kaleidoskop

Styles: Piano Jazz 
Year: 2020
File: MP3@320K/s
Time: 37:50
Size: 87,1 MB
Art: Front

( 9:57)  1. Glückes genug - Erster Verlust
(11:57)  2. Mai lieber Mai - Ritter vom Steckenpferd
(12:32)  3. Knecht Ruprecht - Träumerei
( 3:22)  4. Von fremden Ländern und Menschen

Whether with classical pieces, original compositions or jazz standards she always manages to develop a wide, dynamic narrative, sometimes delicate and fragile, sometimes, tension-filled and rhythmically gripping or irresistibly melodious. At the same time, the listener never gets the impression that she is interested in showcasing as many ideas as possible, or presenting herself as a virtuoso. Everything happens in the spirit of musical storytelling, with an extremely mature, far-sighted view of dramaturgy, dynamics, tension and atmosphere.  Süddeutsche Zeitung simply calls the result "a little sensation", Downbeat magazine „a unique debut, praiseworthy in its pursuit of merging genres“ and Jazz thing magazine describes Summer as "a pianist of a very special character, virtuoso, subtle and filigreed". Jazz, classical music and free playing - Johanna Summer creates her very own music out of the moment, and it is a true experience to listen to it.

Rarely a debut album by a young instrumentalist has evoked such enthusiastic reactions as quickly as “Schumann Kaleidoskop” by the Berlin-based, award-winning pianist Johanna Summer. On the album she uses music from Robert Schumann's "Kinderszenen" and "Album für die Jugend" as starting points for completely free improvisations, thus creating completely new music with every run. The fact that Johanna Summer takes on the supreme discipline, solo piano, for her debut shows that she is an artist who never goes the easy way.  "Johanna Summers music is full of imagination and without categories. Coming from European classical music, with a wonderful touch, she has created something perfect and unique. Beautiful music from A - Z. A new star in piano heaven,” writes piano icon Joachim Kühn about his young colleague Johanna Summer. And piano poet Malakoff Kowalski raves: “Scandalously good. I am thrilled and amazed by Johanna Summer. An artist who seems to fearlessly pursue her own music.” http://www.tambourmanagement.com/artists/109

Schumann Kaleidoskop