Joe Fiedler’s low-brass quartet Big Sackbut (sackbut: an early form of trombone used in Renaissance music) enjoys an amphibian lifestyle, while Dave Glasser’s quartet takes classic jazz into fresh territory.
The coronavirus does not seem to have slowed the release of new work by much, though I have noticed a significant uptick in publicists’ emails of late. Here are three new releases from completely different musical universes named Anne Mette Iversen, Julian Wild, and Matthew Shipp.
The duo of Aurora Nealand and Tom McDermott inhabit a musical world quite different from that of Ben Goldberg, but they all share several characteristics. They are comfortable in a number of different genres. They have no problem mixing those genres. They are superb composers, whether with paper and pen or on the fly. So they get to share this post. On Live at Luthjens, Nealand and McDermott cover a wide swathe of American music (and one Polish piece) in their inimitable way, and in Plague Diary, Goldberg finds a way to while away the time productively and, at times, mesmerizingly.
On Marbles, pianist/composer Falkner Evans employs a sextet (occasionally septet) of stellar and well-known New York musicians to produce richly colored harmonies across nine original compositions. On Tides, the Swiss quartet Phraim, fronted by vocalist Nina Reiter, delivers a robust collection of distinctively original compositions that blend elements of rock, jazz, and art song.
Pianists Art Hirahara and Mara Rosenbloom remind me how little I know about the jazz world. Though I’ve been writing about it in one place or another for almost 20 years, it still has many pleasant surprises in store for me. The latest recordings by each of these pianists are prime examples.
