Monthly Archives: February 2012

Tomajazz review by Pachi Tapiz

Marty Ehrlich’s Rites Quartet – Frog Leg Logic (CF 242)
En estos tiempos de crisis, en que lo que lo único que no está en recesión es el uso de las tijeras en temas como la educación, discos como Frog Leg Logic dan sentido a la utilidad de las becas o ayudas académicas. En el caso de Marty Ehrlich, una beca del Hampshire College en Amherst sirvió en parte para reunir a cuatro músicos que no son precisamente nuevos en esto del jazz (Ehrlich, el baterista Michael Sarin, el chelista Hank Roberts y el trompetista -el más joven de todos ellos- James Zollar) y que pudiesen plasmar en CD las composiciones del saxofonista. El disco está lleno de buenas melodías, buenos arreglos, buenos solos, y con la versatilidad (e incluso las sorpresas) en todos esos ámbitos que hacen que un disco pase de ser bueno a excelente.


Touching Extremes review by Massimo Ricci

Clean Feed   The history behind the names of these two pieces for improvising chamber group is too difficult to synthesize here; check the liners or google around, also to learn about the various evolutions of the very orchestra’s appellative. What’s transparent is that the opening period is dedicated to Masami Akita (aka Merzbow), though Fields and his companions decided to approach the task with the sagacious expertise of a qualified ensemble paying homage to a time-honored composer rather than a Japanese noise merchant. The outcome is a superb paradigm of how to carry out a joint improvisation, the timbres so consistently interconnected in different permutations and dynamics that giving privileges to “lead” designs and distinct ideas becomes a pointless exercise. Our friendly advice is to relinquish a bit of focus and abandoning yourselves to a compelling stream of beautifully emitted music, nurturing one’s yearning for density in a collective statement without losing grip on the poetic aspects of the diverse instrumental idioms.   The first, and a sizeable chunk of the fourth movement of “Ozzo” are plain wonders, replete with fine games of call and response, tactful probing of quietness and recurring parallelisms between assorted groups (sax, accordion and strings in particular evidence, with Thomas Lehn’s synthesizer adding pinches of analogue salt and the flutists inserting small enigmas throughout). The rest is more directly reminiscent of the conductor’s style both in terms of composition and as a guitarist: minuscule cells and dissonant quirks succeed and involve, the interest maintained by the extreme unsettledness generated by the palette’s variety. With musicians of the caliber of Frank Gratkowski, Carl Ludwig Hübsch, Melvyn Poore, Angelika Sheridan and Georg Wissel among the many – everybody deserving a “well done” – this live recording (Cologne’s Loft, January 2009) is as impeccable as a pre-planned studio session.