Daily Archives: December 15, 2009

Time Out New York review by Steve Smith

Tony Malaby’s Apparitions – Voladores (CF 165) ****
One of New York’s most in-demand sidemen since he hit town in 1995, Arizona saxophonist Tony Malaby quickly established himself as a consistently satisfying bandleader and recording artist, serving up one solid release after another. Having weighed in earlier this year with the fiery Paloma Recio, Malaby caps 2009 with a follow-up to 2003’s Apparitions, which introduced a unique bass-and-two-drummers format. Returning from that session are bassist Drew Gress and drummer Tom Rainey, charismatic players who have logged countless hours together. The trump card here is second drummer John Hollenbeck, whose melodica and vibraphone provide new foils for the leader’s hearty flights.

Le Son du Grisli review by Guillaume Belhomme

Transit – Quadrologues (CF 143)
Et la même invention, aussi : dans le déploiement d’une musique en équilibre toujours précaire et qui fait de son état vacillant le premier de ses atouts (Strata), sur l’air latin flirtant avec le minimalisme de Walking on Fire ou encore sur de lentes progressions affirmant davantage au fil des secondes, jusqu’à changer une mollesse d’abord revendiquée en morceau d’épaisseur irrésistible (Meeting Ground, The Science of Breath). Jusqu’au bout, Transit invente en quartette vigoureux mais distant, si ce n’est en conclusion, sur Myrtle Avenue Revival, pièce dont le free fantasque évoque Don Cherry (Wooley aux avant postes) histoire de finir sur un grand hommage. http://www.lesondugrisli.com/

Temporary Fault review by Massimo Ricci

WILL HOLSHOUSER TRIO + BERNARDO SASSETTI – Palace Ghosts And Drunken Hymns (CF 160)
Holshouser and Sassetti had shared a stage for the first time in 2004, this album coming five years later as an expected corollary of that initial meeting. The accordionist and the pianist penned the entirety of the program, except for Carlos Paredes’ “Dança Palaciana” which opens the CD. The line-up is completed by Ron Horton on trumpet and David Phillips on bass. Portugal’s musical roots, landscapes and urban environments are admittedly an essential influence on this work, which alternates moments of wholehearted joy – characteristically expressed by odd-metered tunes and folk-ish themes led by Holshouser’s accordion – and pensive reminiscences in which Sassetti’s piano emerges with the customary assortment of introspective melancholy but – a bit of a revelation here – also with a measure of discordant diversity, exemplified by the angular figurations of “Irreverence”. The most lyrical traits, though, emerge courtesy of Horton, whose lines produce immediate images of vulnerability enriched by a rare quality of perceptive self-discipline, letting him appear as the real lead figure in this circumstance. Phillips is a clever, ever-efficient supporter, furnishing the interplay with unambiguous contrapuntal suggestions that help the music to remain anchored to a reality that often tends to be forgotten in such kind of context. A brilliantly rendered example of instrumental narrative mixing popular and experimental factors.