We’ve added two new pages to the menu above. The Recent AMN Reviews page lists our 100 most recent reviews in reverse chronological order. The AMN Interviews page lists all of our interviews. I’d like to find a way to make our 800+ reviews more browseable, but so far no luck. You can also use the search box to determine whether we have reviewed something.
Update: Just figured out how to list all reviews…now you can browse all of them.
This Chicago-based trio consists of bassist Krzysztof Pabian and drummer Tim Daisy joining guitarist Phillips. No strangers to one another, these frequent collaborators share a familiar cohesiveness on Divergent Flow, their debut release.
Phillips works through knotty leads, mostly relying on a clean, undistorted sound that lands somewhere between blues, rock, and outside jazz. Pabian both plucks and bows, deftly accentuating Phillips’ lines while adding flourishes and statements of his own. Daisy’s cymbal-heavy approach rounds out the active rhythm section.
Five composed tracks are each centered around a brief melody or two that gets explored and rounded out spontaneously. The two remaining efforts are freely improvised, but this distinction is largely immaterial. Sure, the composed pieces are somewhat more tuneful than the latter, but neither style results in anything resembling the conventional or routine.
On the title track, for example, after briefly introducing a theme, Phillips spends the rest of the time soloing in an increasingly aggressive fashion over Daisy’s rolling fills and Pabian’s meanderings. Dip exhibits a degree of forethought and structure but is largely improvised and eschews rhythmic repetition. Extricated From, one of the fully-improvised pieces, starts slowly with the trio making judicious use of extended techniques. This builds in terms of complexity and tension over the course of several minutes.
Divergent Flow is a formidable power-trio showcase. Guitar-led improv is not common and it is gratifying to have Phillips and company to add their voices to the mix.
Source: Charleston City Paper.
“I just consider it kind of a contemporary improvised music,” says Taborn. “I’m not afraid of the word ‘jazz,’ but it often doesn’t reference that. The problem is that there are a lot of different personalities and different guises, depending on what the project is.” Although Taborn lives by his deft improvisation, the pianist crafts his on-the-spot music as if it were painstakingly thought out months in advance. That trait is found in many of his varied projects as a sideman, like the free hard-bop of the Mat Maneri Quartet, the outrageous jazz-funk of Chris Porter’s Underground, or the sci-fi dance music of Innerzone Orchestra.
Source: The Brooklyn Rail.
I know it was a Monday, because I tuned in to Tony Coulter’s Monday Afternoon New Music show on WKCR, and heard the most mesmerizing and unclassifiable music I had yet encountered. Minute after minute of pulsating rhythms loped by, repetitive bass and drum patterns, drone-like harmonies outlined by subtle keyboard playing, and a guitar cutting like a scalpel in and out of the mix. It was utterly gripping, darkly beautiful. It was avant-garde minimalism, ambient music with a beat, abstract, improvised, machine-tooled. It sounded like a rock band making classical new music.