Source: The Free Jazz Collective.
John Dikeman/ Andrew Lisle / Dirk Serries / Colin Webster – Apparitions (A New Wave of Jazz, 2016) ***½
Kodian Trio – I (A New Wave of Jazz, 2016) ****
John Dikeman / George Hadow / Dirk Serries / Martina Verhoeven / Luís Vicente – Live at Zaal 100 (Nachtstück Records, 2016) ****
Erik Platz – Life after Life (Allos Documents, 2016) ****
David Murray, Lester Bowie, John Lindberg, et al. – From New York (jazzwerkstatt, 2015) ***½ (****½)
David Ades – A Life In A Day (Lionshare, 2015) ****½
Uli Kempendorff’s Field – Heal the Rich (Why Play Jazz, 2016) ****
MMM Quartet – Oakland/Lisboa (RogueArt, 2015) ****½
The Spike Orchestra – Cerberus, The Book of Angels, Vol. 26 (Tzadik, 2015) ***1/2
Mycale – Gomory: The Book of Angels, Vol. 25 (Tzadik, 2015) ***
Klezmerson – Amon: The Book of Angels, Vol. 24 (Tzadik, 2015) ****
Source: ARTEIDOLIA. Dan Barbiero writes about sounds and silences.
Think of a performance on a string instrument consisting of long tones bowed with long pauses in between. Imagine at the same time a typical zip painting by Barnett Newman. A parallel immediately comes to mind: The one structures sound and time in the same way that the other structures the visual field and space.
The parallel emerges most clearly when we think of both in terms of plasticity, that is, in terms of the dynamic relations between and among elements, whether musical on the one hand or pictorial on the other. But first a phenomenological reduction of sorts: Consider Newman’s painting strictly in terms of their structural or compositional qualities, not in terms of the extra-formal associations Newman claimed for them.
The premise is this: The long tone against the audio background is analogous to the zip against the field. The gestalt is somehow similar, even if the tone intervenes in and divides literal time while the zip intervenes and divides pictorial space.