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THE WHAMMIES:
PLAY THE MUSIC OF
STEVE LACY, LIVE (VOL. 3)

July 2014 | CD 1401 | LISTEN/BUY

Jorrit Dijkstra - alto sax, lyricon

Pandelis Karayorgis - piano

Jeb Bishop - trombone
Mary Oliver - violin, viola

Jason Roebke - bass

Han Bennink - drums

 

In the spring of 2014 The Whammies played a short tour with concerts in Padova, Italy and St. Johann, Austria, featuring a new set of Lacy’s compositions. The Whammies Vol. 3 Live consists mostly of the Padova concert, and gives an excellent example of how the band has developed since it’s founding in 2012. Rather than making arrangements of the tunes beforehand, The Whammies take an open, “instant arranging” approach towards Lacy’s source material. During a concert each band member has the freedom to introduce backgrounds, solos, smaller groupings, or the next tune, to move the music forward.

Apart from Lacy highlights such as Revolutionary Suicide (dedicated to Black Panthers activist Huey Newton) and “Papa’s Midnite Hop” (based on a poem by Goethe), The Whammies play a few gems that have never been recorded, such as the Sun Ra tribute Sublimation (featuring Dijkstra’s Lyricon, an analog wind synthesizer from the ‘70s), and the hard swinging tune “Bumpers”. The piece Palermo-Orgosolo appears to be unfinished in Lacy’s notebooks, it’s a melody set to a poem by Italian “sound” poet Giulia Niccolai, whose work Lacy used in a few other compositions. The composition Letter is another gem that highlights Lacy’s elegant melodic writing, it’s set to a sweet letter that Lacy and his wife Irene Aebi received from nephew Alex Aebi. Following the tradition set on the first two volumes, Vol. 3 again closes with a Thelonious Monk tune, this time Hornin’ In.



BOLT:
SHUFFLE

July 2014 | CD 1402 | LISTEN/BUY

Jorrit Dijkstra - alto saxophone, lyricon 
Eric Hofbauer - guitar 
Junko Fujiwara - cello 
Eric Rosenthal - drums, percussion

 

Boston based quartet BOLT has been working locally since 2011, focusing solely on free improvisation. Using the distinctive timbral combination of two stringed instruments with the lyricon (an analog electronic wind synthesizer from the 1970s) saxophone and percussion, BOLT’s group sound balances anywhere between the energy-orgies of free jazz and the sparse soundscapes of electronic minimalist improv. In the more expressive moments of a BOLT set the music hints to Boston’s influential master of microtonal improvisation Joe Maneri. In the more quiet introspective moments one could here a modern day extension of the late 1940’s experiments with free improvisation of the Tristano school. 

This recording was deliberately conceived to create a different listening experience than a live concert. The 19 takes of this CD were carefully chosen from 36 improvised pieces recorded during a recording session in the summer of 2013. Shuffling the pieces in random order gives the listener a fresh perspective on the music every single time, adding an aleatoric, and more compositional element to the music.


JORRIT DIJKSTRA:
MUSIC FOR REEDS AND ELECTRONICS, OAKLAND

July 2014 | CD 1403 | LISTEN/BUY

Jorrit Dijkstra – alto saxophone, lyricon, analog electronics 
Phillip Greenlief – alto and tenor saxophones, clarinet 
Kyle Bruckmann – oboe, english horn, analog electronics 
Frank Gratkowski – clarinet, alto saxophone 
Jon Raskin – sopranino, alto and baritone saxophones, analog electronics 

 

As a saxophone player and composer who has integrated electronics in my music for many years, I wanted to experiment with the reed quintet – typically a classical chamber music format – by opening it up with improvisation and electronics. I decided to launch a project spanning three cities where I’ve made long-lasting musical connections: Amsterdam, Chicago, and Oakland. While living in Oakland in the summer of 2013, I approached Philip, Jon, Kyle, and Frank (on a residency from Berlin); all veteran improvising reed players with experience with electronics. With the spirit of the experimental music scene there in mind, I wrote a set of short compositions that connect the textural possibilities of our reed instruments and our electronics. The electronics include my Lyricon (which counts as an analog electronic reed instrument) and John and Kyle’s interesting collections of analog synths and noisemaking modules. Music for Reeds and Electronics: Oakland is the first documentation of this project; it ended up as a curious assemblage at the intersection of electronic music, noise, free jazz, and modern chamber music. Jorrit Dijkstra June 2014. 

 

 


PANDELIS KARAYORGIS QUINTET:
AFTERIMAGE

July 2014 | CD 1404 | LISTEN/BUY

Dave Rempis alto, tenor and baritone sax
Keefe Jackson, tenor sax, bass clarinet
Pandelis Karayorgis, piano
Nate McBride, bass
Frank Rosaly, drums

 

Live recording from Constellation Chicago, from the group's April 2014 tour. This is the second album by Karayorgis's well received quintet with these Chicago musicians, featuring a new set of compositions. Earlier this year, Josef Woodard wrote in Downbeat magazine that this group “illustrates the renewable power and adaptability of personal stylistic imprints in the contemporary, post-free-jazz universe. ... [the] essential musical philosophy espoused by the pianist ambling on the boundaries between the preconceived and the spontaneous. These recordings exemplify an aesthetic at once solid in its concept and open to evolution and expansion.” And Troy Collins in Point Of Departure, wrote that the quintet “demonstrates a masterful reinvention of post-bop vernacular, expertly balancing the accessibility of the mainstream with the vitalizing freedom of the avant-garde.”


JORRIT DIJKSTRA:
NEW CROSSCURRENTS

July 2014 | CD 1405 | LISTEN/BUY
(DIGITAL DOWNLOAD ONLY)

Jorrit Dijkstra - alto saxophone 
David Kweksilber - tenor and alto saxophone 
Wiek Hijmans - guitar 
Guus Janssen - piano 
Raoul van der Weide - bass 
Wim Janssen - drums 

 

In the fall of 2003, Dutch sextet New Crosscurrents came together as a short-lived extension of the quartet Sound-Lee!, which was dedicated to the early compositions of cool jazz alto saxophonist Lee Konitz. Guus Janssen and Jorrit Dijkstra had shared a fascination for the lucid sound of the Tristano school, with it’s contrapuntal improvisations, it’s fluid phrasing, and it’s bare-bones use of the rhythm section. New Crosscurrents played a few concerts with a mix of pieces by Lennie Tristano from the legendary 1949 record Intuition (which featured the first recorded experiments in free improvisation in jazz history) and transcriptions of George Russell’s masterworks Ezz-thetic and Concerto for Billy the Kid (not included in this release). But mainly the sextet interpreted a set of Guus’ works, that juxtapose shapes and forms from the cool jazz period into newly constructed compositional gems. The sudden cutoffs and improvisational blocks in these pieces resemble Guus’ earlier experiments with game pieces and clear collective improvisational forms. It also shows the influence he had on other Dutch composers and improvisers after him, walking the lines between contemporary classical music and jazz. It’s clear that the objective of this project was not to repeat history, but to expand on it, as a study in the relationship between composition and improvisation.

 

JORRIT DIJKSTRA:
PILLOW CIRCLES

July 2014 | CD 1406 | LISTEN/BUY
(DIGITAL DOWNLOAD ONLY)

Jorrit Dijkstra - alto saxophone, tin whistle 
Jasper Blom - tenor and soprano saxophones 
Ilja Reijngoud - trombone 
Tanya Kalmanovitch - viola 
Raphaël Vanoli - guitar, electronics 
Paul Pallesen - guitar, banjo 
Jason Roebke - bass 
Frank Rosaly - drums 

 

Pillow Circles originated as the annual composition commission for the North Sea Jazz Festival in Rotterdam in 2009. The idea was to assemble a large ensemble where the guitar would play a major role in the group sound, inspired by the stretchy soundscapes of indie-rock bands such as Sonic Youth and Spiritualized. The basis was formed by Dutch guitarists Paul Pallesen (with whom Dijkstra has worked since the mid ‘80s) and Raphaël Vanoli (known from the successful improv-rock duo Knalpot) and three members of Dijkstra’s “Chicago” band The Flatlands Collective. New York saxophone giant Tony Malaby and Dutch virtuoso Oene van Geel, were added, and the results were first documented on Clean Feed Records in 2010. The group had the opportunity to get more touring experience in 2011 (with Jasper Blom, Ilja Reijngoud and Tanya Kalmanovitch as substitutes), and this recording documents the evolution Pillow Circles had gone through after a week of gigs in The Netherlands and Germany, with more open space for improvisations and an overall looser atmosphere towards the composed material. Each piece is dedicated to a musician that had a significant influence on Jorrit’s music, and the dedications to Denardo Coleman and Kate Bush were newly composed for the tour.

 

 

THE WHAMMIES:
PLAY THE MUSIC OF
STEVE LACY, VOL. 2

June 2013 | CD 1303 | LISTEN/BUY

Jorrit Dijkstra - alto sax, lyricon

Pandelis Karayorgis - piano

Jeb Bishop - trombone
Mary Oliver - violin, viola

Nate McBride - bass

Han Bennink - drums


Second set of gems from Steve Lacy's vault, some of which were never recorded in the original form. An all-star cast of musicians from the Chicago, Amsterdam and Boston improvisation scenes.

 


 

 

PANDELIS KARAYORGIS QUINTET:
CIRCUITOUS

June 2013 | CD 1304 | LISTEN/BUY

Dave Rempis alto, tenor and baritone sax
Keefe Jackson, tenor sax, bass and contrabass clarinets
Pandelis Karayorgis, piano
Nate McBride, bass
Frank Rosaly, drums

 

“Karayorgis and the quintet succeed brilliantly here in creating music that both reverberates with the tradition and creates its own extraordinary musical states—textures, visions and collisions that are unique, that could not be produced by any other group or any singular method.”
Stuart Broomer (from the liner notes)

Some of Chicago’s top improvisers in a group led by pianist Pandelis Karayorgis. All original compositions by Karayorgis.

 

 


 

PANDELIS KARAYORGIS TRIO:
COCOON

June 2013 | CD 1302 | LISTEN/BUY

Pandelis Karayorgis, piano
Jef Charland, bass
Luther Gray, drums

"These guys are as connected in musicianship as a piano trio can be. They think, breath, anticipate, and play as one—in the best sense. Right in the pocket of empathy and insight.”
Stu Vandermark, Boston Jazz Scene

First studio recording by an established trio, made at the end of a year of monthly concerts during which this material was developed. Six new original compositions recorded at WGBH’s Fraser studio in Boston

 


 

GREGORIO/SWELL/KARAYORGIS:
WINDOW AND DOORWAY

June 2013 | CD 1301 | LISTEN/BUY

Guillermo Gregorio, clarinet
Steve Swell, trombone
Pandelis Karayorgis, piano



“Three of today’s most creative and adventurous musicians.”

Kevin Lowenthal, Boston Globe


An intimate and intense set that takes advantage of the unusual instrumentation and diversity of compositional approaches.
Each musician contributes original compositions interspersed with a few collective improvisations. The CD booklet contains an original poem by Steve Swell and the cover image is of a collage by Guillermo Gregorio.

 


 

THE WHAMMIES:
PLAY THE MUSIC OF STEVE LACY

November 2012 | CD 1201 | LISTEN/BUY

Jorrit Dijkstra - alto sax, lyricon

Pandelis Karayorgis - piano

Jeb Bishop - trombone
Mary Oliver - violin, viola

Nate McBride - bass

Han Bennink - drums

 


 

JEB BISHOP/JORRIT DIJKSTRA:
1000 WORDS

November 2012 | CD 1202 | LISTEN/BUY

Jorrit Dijkstra - alto sax

Jeb Bishop - trombone