CDs
and Vinyl from other publishers
BROKENRESEARCH Vynil CD
|
Brokenresearch – Exploring the voids of all known undergrounds since 2002
Hans Buetow and Ben Hall, the cellist and the drummer from Graveyards and Melee, are also the proprietors of the Broken Research label, and they just sent a couple of superb LPs that are very much in keeping with their personal avant garde tradition. Jeff Arnal & Dietrich Eichmann’s Live in Hamburg is a great duo performance for Brooklyn percussionist Arnal (maybe best known for work with Charles Gayle) and pianist Eichmann (a von Schlippenbach student who reportedly focused more on composition until recently). The session is super-active and outward reaching without ever slowing down very much. Very righteous playing, and these guys communicate at a pretty high level.
An eponymous Paul Lytton/Nate Wooley LP finds Melee’s young trumpeter and the veteran percussionist locked in a kind of bone-scraping mortal combat that gets into some ingenious free music situations, where instrumentation is anyone’s guess and the mode is pure attack. There is also a pair of conceptually twinned LPs, Bare Those Excellent Teeth Pt. 1 & 2, by Graveyards and Melee, respectively. The Graveyards’ disk is savagely restrained for them, almost hermetic. It shows a bit more overtly than usual how the music of Hall and Buetow (who, along with John Olson, comprise Graveyards), is rooted in the Bennington composition mode. There’s a real feel of that here—subtle woodwinds, stretched tonal bass, light drum clatter and all. The Melee session is similar. And nice as hell. Graveyards also have a solid, untitled set of tunes on a new 8" lathe-cut from the chaps at Alt.Vinyl (Northern England’s best store/label). It’s a fuggin’ reflective masterwork as well, and scheduled to be part of a series that should rip serious sac. Gonna file these all in the jazz annex, which is a testament to something.
BULL TONGUE By Byron Cole and Thurston Moore
|
Vynil
|
Bill Dixon / Aaron Siegel / Ben Hall: Weight / Counterweight SOLD OUT!
|
|

zoom in / out
|
Bill Dixon – trumpet
Aaron Siegel – percussion
Ben Hall - percussion
brokenresearch heavy vinyl double LP – limited edition of 500 copies in pro-printed sleeves
item
no.: brlp041
retail
price: € 38,00
|
Though most dumb jazz fans might be completely unaware, the cabal of musicians associated with Michigan’s Brokenresearch label – John Olson, Ben Hall, Aaron Siegel, Hans Buetow, Chris Riggs, Nate Wooley – have done more to advance the language of free jazz over the past five years than any of the more lauded players of their generation. Despite their background having more to do with The New Blockaders then the New Thing, they have re-worked jazz from the inside out, focussing on actual playing, on subtlety as much as scorch. Indeed, Graveyards have minted a form of group playing that draws as much from 20th century classical traditions, new minimalism and the aesthetics of drone as much as fire music. And along the way they’ve attracted some of the more open-minded and still-adventurous first generation free jazz thinkers to their cause. When Anthony Braxton hooked up with Wolf Eyes at Victoriaville it felt like a major meeting of minds and a two-way legitimisation. This new double LP set, presented in stunning deluxe style with a glossy gatefold sleeve that’s as heavy and high-class as anything from the Shadoks label and 180g vinyl, feels just as seismic in its repercussions, uniting two generations of outward bound sound. No one sounds like Dixon on the trumpet and his subtle use of delay and the way that the arc of his lines seems to imply an orchestral architecture that supports the weight of his ideas is absolutely unique. There’s a sense of muted drama to the interactions, an implication of endless space. But percussionist Hall (who plays in Graveyards with John Olson) and Siegel are equally architectural in their playing. Hall is particularly revelatory here. Having studied under Dixon he understands just how time-focussed or time-specific Dixon’s conceptions are, not in terms of rhythm, but in terms of how they unfold in a way that almost feels like a slow camera pan out from specifics – tones, timbres, melodies – in order to capture the overall arc of the piece. Hall’s drums are tonal, deep, reverberant, at points sounding almost like timpani, like muffled thunder, the perfect partner to Dixon’s smeared trumpet sound. And Siegel positions himself as some kind of conduit between the two, a conductor of low earth tones and higher, almost vocal-based inflections. There’s a sense of drama to the playing, a sense of thought reified in sound, that is uniquely thrilling. I can’t think of another group that can so consistently maintain such a high-wire state without ever breaking and falling back into rote phrases or mere energy playing. A milestone free jazz record, a key recording in all of the players’ back catalogues and a classic private press side. Highly recommended.
David Keenan / Volcanic Tongue |
top
|
Graveyards: Screwed + Chopped
NEW!
|
|

zoom in / out
|
Chris Riggs – electric guitar
John Olson – tapes, electronics, reeds
Hans Buetow – cello
Ben Hall – percussion, tapes, electronics
brokenresearch heavy vinyl LP – edition of 200 in hand-made, numbered, fibre-board covers, two-colour printed silver and black
item
no.: brlp034
retail
price: € 20,00
mp3
|
There are still so many people steady trippin’ off the Futurists and trying to make it faster and louder but it does that on it’s own. When Screw decided to upend the idea of time and how one can listen to time, shit slowed everything down and it made sense. Houston, the sprawl, the heat, the poverty. Detroit, the sprawl, the cold, the poverty. There is a kinship and affection between the ¼ speed, slo-mo, basement jazz and Houston’s favorite codeine addict. This recording was made with tapes, test presses, outtakes, all played in real time against Graveboyz own post-cubist approach to Screw mixing us from, where else? The graveyard. Chopped up not slopped up. Chris Riggs adds his destroyed strings to the mix.
brokenresearch |
top
|
Mêlée + Joe Morris: Cloud Atlas Quartet
SOLD OUT!
|
|

zoom in / out
|
Joe Morris – electric guitar
Nate Wooley – trumpet
Hans Buetow – cello
Ben Hall - percussion
brokenresearch heavy vinyl LP – limited edition of 200 hand-numbered copies in pro-printed sleeves
item
no.: brlp031
retail
price: € 20,00
mp3
|
Mêlée by default has become a terrain with which other musicians engage. At this point the trio has played with Greg Kelley on several occasions, John Dierker, Mike Khoury, and Aaron Siegel amongst others. To have Joe Morris come and push the mountains around a little is both exciting and terrifying. He’s a premier guitarist, technician, improviser, professor and fire-starter. If ya ck his recent Wire Invisible Jukebox you can get a handle on the kind of absolutely practical intellectual approach he deals with. If ya listen to his absolutely fucking bananas 4CD duet set with Braxton you realize just how adventurous, skilled, strong and fearless he is as a musician, composer and improviser. Having the mug jump in and want to do a session like this is a beyond exciting and brings the kind of not-weak-as-pre-spinach-Popeye improvisation to a label that was started in part to continue the kind of music making that Joe Morris is fundamental to and has been fundamental in proposing.
brokenresearch
Mêlée is avant-garde jazz like you've rarely heard it. Released on percussionist Ben Hall's Brokenresearch label, the trio further consists of Hans Buelow on bass and Nate Wooley on trumpet, here joined for the occasion by Joe Morris on guitar. You could call this noise jazz, because there are no discernible patterns and all four musicians play simultaneously almost the whole time, plus there are no moments of pause or relief of tension: you get sound intensity from the very first second till the end of the second side of the LP. Yet it is not noise. I get a lot of CDs by young and upcoming bands who think they have to shock their audience and get attention by going beyond what is bearable, by exaggerating what already exists rather than setting new boundaries, but not so with this band. Despite the unrelenting tension and the permanent sparkling, crackling and bouncing interaction between the four instruments, it has something of a raw attractiveness that is hard to fathom. They don't play to please, but they don't play to shock either. Like with clouds, there are no anchor points, no foothold, no reference: sounds come and go, move and slide one into the other, evaporate, arise somewhere else, moving the whole thing forward with no direction, yet it all is one whole, there is some sort of internal cohesion that sets it apart. There are moments of intimacy, of direct emotional delivery, and moments of stress and distress, of darkness, signs of an upcoming storm. That doesn't come. Only the tension before it. There is no real power either. And no sweetness. It gets you out of your comfort zone. Yet you want to hear it again, and again, and again. And that's usually the only yardstick that counts. A new musical experience.
freejazz-stef.blogspot.com |
top
|
Paul
Lytton / Nate Wooley
SOLD OUT!
|
|

zoom in / out
|
Nate
Wooley – trumpet
Paul Lytton – percussion, electronics
recorded by Bojan Vuletic in Cologne 2007
brokenresearch heavy vinyl LP – limited edition of 200
hand-numbered copies in pro-printed sleeves
item
no.: brlp028
retail
price: € 20,00
mp3
|
Mêlée
trumpeter Nate Wooley and 30yr Evan Parker trio drummer Paul
Lytton match up for this cross-generational slugfest. Wooley
is in full pan-compositional, poly-formal, post-structuralist
trumpet acrobatic mode with no visible safety net and really
why would he need one? For his part Lytton shows why, along
with John Stevens and Tony Oxley, he is one of the three cornerstones
of English improvised percussion. Using a rig that focuses
on small percussion and electronics, that he was one of the
first improvising drummers to develop, Lytton shows a balletic
sense of physicality and timbre that acts as foil and foe to
Wooley's post-Dixon excoriations of trumpet idiom.
brokenresearch |
top
|
Graveyards
and Dead Machines: Machineyard in Soundworld
|
|

zoom in / out
|
John
Olson
Tovah
D-Day
Ben Hall
brokenresearch 1-side LP – limited edition of 200 in hand-made, numbered,
fibre-board covers, two-colour printed silver and black
item
no.: brlp025
retail price: € 17,50
mp3
|
Olson
pulls 2xduty on this low-level lurk meltdown. The dream time
goes 2 vs. 2 for a 1/8 speed that sounds. Like contact mic'd
drifts of glaciers that make reverb seem like a concept developed
by inuits this sound moves slower than slow and spotlight the
intricacies of interaction afforded only between people have
that particular Michigan approach. Tovah D-Day is in particularly
rare form on this one processing everyone in the group and
serving as the Lee Perry on this one.
brokenresearch |
top
|
Traum:
Slab
SOLD OUT! |
|

zoom in / out
|
Ben
Hall – drums
Zac Davis – electric guitar
brokenresearch 1-side LP – limited edition of 200 in hand-made,
numbered, fibre-board covers, two-colour printed silver and black
item
no.: brlp024
retail price: € 17,50
mp3
|
Zac Davis who has had his Michigan rights revoked for theft finds himself on
the very last brokenresearch release to ever have his sorry ass name associated
with said label. Heads up with percussion hater Hell Hall this is some
Billy Cobham vs. Coryell under dirt filled microscope for the mass of listeners
who post up as both noise and fusion fans. A one sider with brutal force,
this is an excellent companion to "Built for Nothing" and really
that is the most fitting title for a group that had action for about ten
minutes until our guitarist decided that friends are for using. No description
like this has ever been posted to the HnAm board but very few have been
more honest about what they were peddling-- a document of two people who
used to be cool and now...
brokenresearch
|
top
|
Jeff
Arnal / Dietrich Eichmann: Live
in Hamburg |
|

zoom in / out
|
Jeff
Arnal – percussion
Dietrich Eichmann – piano
recorded at Christianskirche Hamburg, Germany, at the Phenomorphonic Festival
on November 19, 2004
brokenresearch
heavy vinyl LP – limited edition of 200 hand-numbered
copies in pro-printed sleeves
item no.: brlp017
retail price: € 20,00
mp3
|
Violent
uses of architectural space and the dream time acoustic – industrial
sound from the duo of Berlin-based composer/pianist Eichmann
and fantastically inventive and robust Brooklyn drummer Arnal.
Sound as lassoed, tied and corralled by two absolutely precise
musicians using a beautifully mechanistic pattern of improvisation.
Mechanistic as complimentary and logical - eschewing the randomness
typically associated with improvisation.
brokenresearch
The
object of this review is a 35-minute LP released in 2007
in a limited edition of 200 copies. It comes from a concert
held by Eichmann (piano) and Arnal (percussion) in November
2004 at Hamburg's Christianskirche, in the occasion of the
Phenomorphonic Festival. The contents were totally improvised,
even if they do possess all the qualities of a series of
compositions, or maybe a single one divided in several movements.
Scrutinizing the whole I couldn't manage to find a moment
of "violence" throughout the performance; everything
remains dynamically confined in areas where obscurity and
ebullience seem to be the keyword for the musicians' approach
to the context. Ever since the beginning, Eichmann stays
for long spots in the lower region of the piano keyboard,
basically offering a percussive contribution to the percussionist
himself. The personalities - with their reciprocal relationships
- start to come out more clearly as the time flows, when
the two different instrumental voices begin showing unique
characteristics in slightly changing settings. The rare solo
spots don't modify the general sense of restraint that the
music offers, and which is the reason at the basis of the
good results obtained by the pair. Improvisational segments
that sound quite introvert, circumspect in a way, certainly
well planned, as absurd as this concept might appear. A release
that, for want of a better description, "swims underwater" to
gain our approval, successfully.
Massimo
Ricci, Touching Extremes
more
|
top
|
Mêlée:
Bare Those Excellent Teeth, vol.2
SOLD OUT! |
|

zoom in / out
|
Nate
Wooley – trumpet
Hans Buetow – cello
Ben Hall – percussion, timpani
brokenresearch
heavy vinyl LP – limited edition of 200
hand-numbered copies
, white vinyl packaged in coloured sleeves with screened sandpaper artwork
item
no.: brlp018
retail
price: € 20,00
mp3
|
The
second volume of compositions and improvisations with Hall's
focus on tympani and the groups focus on the anatomies of classical
experimentation as imagined by Evan Parker and Air. Elliptical
rather than definition by repetition each piece brings the earlier
Graveyards essay to bear and extends the formal language away
from cemented landscapes and into oceanic topographies. Very
slow and round.
brokenresearch
Second instalment of this series in a limited run of only 200 white
vinyl LPs on the Graveyards label, packaged in coloured sleeves with
screened sandpaper artwork. Trio moves from trumpeter Nate Wooley,
cellist Hans Buetow and drummer Ben Hall. Long stretches of aircraft
hangar silence are plotted with vapour trails of trumpet that seem
to imply the presence of an entire orchestra, while Buetow and Hall
combine endless Mobius rhythms and woozy forests of scuttering drone.
There's an elegant feel to the proceedings that is not often apparent
in contemporary energy music, coupled with an interrogating use of
the subtle invasion of silence and a love of the expressive weight
of applied counter-textural gravity that is head-spinning to say
the least. Another side that could only have been birthed in these
guys' intensely personal universe. Recommended.
volcanic tongue
The second
in the series of compositions from the Graveboys dis-rhythm
section of Hell and Bunny this time with Nate Wooley doing
the duty on trumpet while Olson maintains his Wolf-obligations.
Perhaps darker and more trance-inducing than the first "Bare" it
sounds very much like chamber music played by stamping machines
which aint exactly a bad thing.
fusetronsound |
top
|
CD
Traum: Cinder
Blocks
NEWLY AVAILABLE! |
|

zoom in / out
|
Chris
Riggs – electric guitar
Hans Buetow – cello
Ben Hall – drums
brokenresearch CD-R – limited edition of 100 hand-numbered
copies in art sleeves with printed sandpaper
item
no.: brcd033
retail price: € 15,40
mp3
|
After
getting rid of that thieving fuck, Traum reformats as more
of a trio approach this go-round with Chris Riggs absolutely
destroying the guitar chair. And what a damaged overall approach
it is. The formal constraints bring something out that tends
towards some of the most unknown improvised noise proposals
so see light in Michigan. Riggs is a brutal technician and
there's not a guitar note to be heard and the chords--if you
can call'em that---- sound like machines self-inflicting tonal
punches. Riggs and Bunny move through all the material with
a push/pull controlled passive aggressiveness that makes it
impossible again and again to figure out who's doin' what.
Cd-r in art sleeve with printed sandpaper
brokenresearch |
top
|
Hell
and Bunny with Greg Kelley: Burn It Down For The Nails
SOLD OUT! |
|

zoom in / out
|
Greg Kelley – Trompete
Hans Buetow – Cello
Ben Hall – Schlagzeug
brokenresearch CD-R – limited edition of 100 hand-numbered copies in art
sleeves with printed sandpaper
item
no.: brcd032
retail price: € 15,40
mp3
|
After
a garish trio-supposed to be a Melee plus Kelley---date in
Western Mass it was only a matter time before this trio got
together to do the scrape and crunch. It's interesting to see
how Kelley approaches the 1/4 speed lurch. In comparison with
Olson and Wooley it's a bit more fireworks oriented but there
are plenty of glacial exhalation, abrasions and slow wallops
to extend the gravenights vocab. Also where Wooley and Olson
are fully complicit Kelley is a bit more argumentative--in
the best way possible--in doling out his own formal demolitions
that end up with almost downtown moments of cross-pollination
and genre car crashes.
Cd-r in
art sleeve with printed sandpaper
brokenresearch |
top
|
Traum:
Raw Sense of Humor
NEWLY AVAILABLE! |
|

zoom in / out
|
Zac
Davis – guitar
Hans Buetow – cello
Ben Hall – percussion
brokenresearch
CD-R – limited edition of 100 hand-numbered copies in art
sleeves with printed sandpaper
item
no.: brcd027
retail
price: € 15,40
mp3
|
Brutal
fusion/psych rethinks of Dejohnette, Rypdal, Holland [on 'cello
this 'go round] conducted thru loft-era 70's free jazz. The
Blue Humans are the elephants in the room but its more like
Blue Humans as interpreted by Bailey, Oxley and Reijseger.
Zac Davis [guitar-Lambsbread], Ben Hall [percussion-Graveyards]
and Bunny Buetow ['cello-Graveyards] meet on the gray Midwest
plains that AMM apparently couldn't mapquest. It's hard to
imagine that this is the product of a Graves/Bread mash but
then it makes a certain sense as it allows for the leftovers
and detritus that go unused in the other settings. The drums
sound like constantly falling objects and shattering glass
and the strings combine for a wired meltdown of electronic
and acoustic inference and interference.
brokenresearch
New group
that features Zac Davis from Lambsbread on guitar alongside
the Graveyards rhythm section of Ben Hall on drums and Hans
Buetow on cello. The sound is the kind of freedom scrabble
that makes you think of DNA playing splintered chamber music
moves with the kinda string muscle that might well have been
flexed had Neil Hagerty and Derek Bailey been coerced into
'interpreting' the early planet-bombing style of Iancu Dumitrescu's
string bombards while memories of Keiji Haino's meeting with
Joey Baron and Greg Cohen were still doofing around their skulls.
A good scenario, for sure. Numbered edition of 100 copies in
screened sandpaper covers with art paper sleeves.
volcanic
tongue
|
|
|
Emeralds:
Queen of Burbank, vol.2
SOLD OUT! |
|
zoom in / out
|
Cleveland drone band Emeralds
brokenresearch
CD-R – limited edition of 100 hand-numbered copies in art
sleeves with printed sandpaper
item
no.: brcd026
retail
price: € 15,40
mp3
|
Waves
and waves of tranquility from Cleveland's best drone outfit.
If this was a 70's synth record you would very happily dangle
the only locally known copy of it in front of yr crew and admonish
them for not being dedicated as you to find such an important
piece of the sound puzzle. Truly startling in its beauty, Emeralds
have found a small hitherto unknown patch of tone concept to
call their own. Synth, guitar and electronics form melting
phrases and conductions for a certain sort of pealing transference
that rarely comes along without a bunch of ego and over-conceptualization.
brokenresearch
You've either got it or you don't and on the evidence of
the past couple of releases these Ohio-based punk primitives
simply 'do' in a way that transcends a thousand tedious nth
generation vox/loops/drone/noise post-Skaters fan boys. This
is the kind of drone music that feels extremely personal,
handled with all of the clumsy grace of a bunch of unself-conscious
heads creating soundtracks for their own personal vision
of eternity. And there are some beautiful vistas. The set
starts with a loop of satellite guitar notes before snowballing
into a fuzz of vocal snippets, foresting drone and dancing
microtonal snowstorms until the whole thing has tractored
into an endless monolithic throb that devours every schlup,
scrape and wooze to come out of the group's trap. Another
great one. Edition of 100 numbered copies in screened sandpaper
covers on art paper sleeves.
volcanic tongue
top |
|
|
KillDevilHills:
The Loneliest Corner in Michigan |
|

zoom in / out
|
Sick Llama – drones,
electronics
Coccyx – soprano saxophone
Ben Hall – percussion, electronics
brokenresearch
CD-R – limited edition of 100 hand-numbered copies in art
sleeves with printed sandpaper
item
no.: brcd023
retail
price: € 15,40
mp3
|
Heath
Moerland/Sick Llama in full reed/electronics standoff mode
with Ex-Graveyards troupe Coccyx on soprano and tapes and Ben
Hall on percussion and electronics in absolute persecution
of standard "noise" procedures - a bit like the Rust
Belt itself waking from the rawest of hibernations and realizing
it would rather go back to sleep. Avavlanches of frequency
sweeps from electronics and reeds and ritiualistic bell tower
collisions that morph into a perfect description of cold and
bleak aural malaise. Very much the sound of frozen and filthy
snow.
brokenresearch
top |
|
Ex-Graveyards:
Mourning Light
|
|
zoom in / out
|
Coccyx – saxophones,
bass clarinet, tapes
John Olson – saxophones, electronics
Hans Buetow – cello
brokenresearch
CD-R – limited edition of 100 hand-numbered copies in art
sleeves with printed sandpaper
item
no.: brcd022
retail price: € 15,40
mp3
|
New
line up with former '98-'99 Graveboy Coccyx returning to the
fold on reeds and tapes. Double saxophone approach frees Olson
to do some heavy lifting with a fuller electronics advance
than has been previosly present in the Graveyards catalog.
Pursposefully longer pieces that allow for the most subtle
of silences to develop and then implode. Where the rest of
the catalog typifies and frozen and desolate topography - with
the peaks and extremities occuring in severely cold and hot
locales this recording seems profoundly closer to warm and
flowing waters rather than earth.
brokenresearch
New album from an expanded Graveyards line-up that sees John
Olson (Wolf Eyes) on reeds and electronics, Hans Buetow on
cello and Ben Hall on drums re-joined by original Graveyards
collaborator Coccyx on reeds and electronics. High Twilight
Zone feel to much of the interaction here, with liminal humps
of bass clarinet breaking surface through a fog of drifting
electronics. Some of the reed playing is so specifically nuanced
that they could almost be English, with a weird netherworld/Canterbury
feel that is extremely gorgeous. Of course the electronics
nudge it into a whole other world but if you can imagine the
Bananamoon/Daevid Allen mothership touching down right next
to MEV's Spacecraft and Soundpool sides then you'll have found
the perfect gap in which to file it. So slot it the fuck in
and feel real, real good about the state of your collection.
Numbered edition of 100 copies in screened sandpaper sleeves
on art paper. Highly recommended.
volcanic tongue
top |
|
Mêlée with Aaron Siegel
SOLD OUT!
Aaron Siegel – trumpet
Hans Buetow – cello
Ben Hall – percussion
|
|
zoom in / out
|
brokenresearch CD-R – limited edition of 100 hand-numbered copies in art sleeves with printed translucent paper
item no: brcd019
retail price: € 15,40
mp3 |
Aspects of minimalists like Terry Riley and Maryanne Amacher animate some of the more extended sections alongside the kind of fast-scrabbly style of Company, Malcolm Goldstein etc and some dark, static almost Bill Dixon-esque desolate space.
David Keenan, Volcanic Tongue
|
top
|
|
John
Hughes / Alberto Braida: MOBILE
|
|
zoom in / out
|
John
Hughes - bass
Alberto Braida - piano
recorded at Accademia di Musica F.Gaffurio, Lodi, Italy, October 10, 2004
brokenresearch
CD – limited
edition of 500 hand-numbered copies
in art sleeves
item
no.: brcd013
retail price: € 13,90
mp3
|
These duo recordings
of John Hughes and Alberto Braida will certainly stand as a landmark
in both musicians’ discography.
There is much writing about “new” and “original” languages
when it comes to improvised music. But in this dialogue an exclusive pace occurs,
a form of musical motion deeply rooted in many years of experience and mastership
of both musicians, through fresh, vigorous, young shoots now flowering to amazingly
beautiful creations.
Alberto Braida’s many years of most sparing use of the piano now enable
him, from a perspective nourished through the experience of silence, to dive
into overflowing, delirious sonorities without ever getting caught in idiomatics.
A master of most complex timbres on the double bass, John Hughes’ energetic
play in this partnership shimmers in iridescent shades, his chord glissandoes
make every sigh sound like a twinkle in some knowing one’s eye, the richness
of his bowing and pizzicato techniques no schoolbook can describe.
Every sound is in the right place.
A precious jewel for the real connoisseur of improvised music!
Dietrich Eichmann
Precise documentation of a ruminative series of duets
for piano and acoustic bass from Hamburg-based bassist John Hughes
and pianist Alberto Braida, who was part of the late Peter
Kowald's last recorded trio. Braida is an inventive player
who channels earlier modes like swing and ragtime into constructs
that ebb and gush with a rigorous though never too angular
or overbearingly brainy - logic and are executed with a feel
for subtle nuance and the more sublime mathematics of melody.
Hughes moves between running huge steel poles right through
the heart of Braida's inventions and carving beautiful coronas
around the variously implied arcs. Something else from brokenresearch
and a something that sits fine with their defiantly individual
free aesthetic.
David Keenan, Volcanic Tongue
top |
back
|
©
by oaksmus
|