Reviews that mention Steve Adams
February 22, 2022
The Circumference of Reason
ESP 5061
Compounding and expanding the intuitive skills developed over four decades of creativity ROVA continues to find unparalleled cohesive sounds. With common and extended timbres available from many members of the saxophone family, in an eyeblink the quartet can expel tones and pitches ranging from the grating to the gentle. This disc is singular because it’s not only the first ROVA session after a few years hiatus, but also because it’s bookended by tunes celebrating one of the band’s departed reed associates. MORE
November 1, 2018
In Transverse Time
Victo cd 131
Atipico 4
Next Planet on the Way
Setola di Maiale SM 3480
Endowing a stand-alone reed quartet with the full spectrum of orchestral textures is the aim of both these outstanding veteran aggregations. That this goal is mostly attained is only one appeal of these sessions; the other is to what divergent uses the resulting arrangements are put. Next Planet on the Way’s 16 tracks, for instance, are dedicated to raucous, rhythmic fun without lapsing into inanity. Meanwhile the 10 compositions on In Transverse Time shore up the musical sophistication and adaptability of Rova, with individual points of view accounted for throughout. MORE
September 13, 2017
Rova/Kyle Bruckmann/Henry Kaiser
Steve Lacy’s Saxophone Special Revisited
Clean Feed CF 415 CD
Uwe Oberg/Rudi Mahall/Michael Griener
Lacy Pool…2
Leo Records CD LR 792
With saxophonist Steve Lacy’s death now 13 years in the past, musicians have begun dealing with his musical legacy in different ways. Like a visual artist celebrated for his painting who was also an accomplished sculptor, Lacy’s capability as a master improviser who established the soprano saxophone in modern Jazz is unquestioned; evaluating the music he composed over a 50-year career is the next challenge. The CDs here realize the material’s potential however because each group involved interprets Lacy’s works according to its own ideas, rather than embalming it as is the concept behind so-called ghost bands. MORE
May 13, 2017
No Favorites: For Lawrence “Butch” Morris
New World NW80782-2
By Ken Waxman
Dedicated to Lawrence “Butch” Morris (1947-2013), who structured improvisation without losing its freedom, the Rova quartet swells to orchestra size to adapt the concept. Adding f acoustic string players, an electric rhythm section and, on one selection, a conductor to Rova’s four saxophones is like adding bright colors to a room decorated in shades of white. Yet so attuned to the concept are the others’ playing that the now euphonious sounds remain hard-edged not ornamented. MORE
January 6, 2016
Rova: Still Creative After All These Years
By Ken Waxman
Someone once described Rova as the Grateful Dead of Jazz. A comparison to the Rolling Stones would be more accurate. For more than 38 years, with only one change in personnel 27 years ago, the Bay area-based saxophone quartet has created high quality music. However unlike the venerable British rockers whose music hasn’t been cutting edge for decades, Rova continues to evolve and experiment.
Case in point: this month’s series of NYC concerts. From the 19th to the 24th, the band’s residency at The Stone offers a retrospective of classic Rova material as well as new works. Some sets will feature Rova and guest musicians, some of whom have never played with the band before. Before that, on January 17th at Le Poisson Rouge, an expanded Rove ensemble will perform Electric Ascension, a 21st Century re-imagining of John Coltrane’s classic work. Concurrently, RogueArt will release Channeling Coltrane, containing a live performance of Electric Ascension from the 2012 Guelph Jazz Festival on DVD and Blue-ray; a CD of the music itself; plus Cleaning the Mirror, a documentary that mixes the story of Rova’s Ascension adaptation with a history of the creation of Coltrane’s seminal session. MORE
October 7, 2012
The Guelph Jazz Festival
By Ken Waxman
A spectre was haunting the 2012 Guelph Jazz Festival (GJF), but it was a benign spectre: the ghost of John Coltrane. The influence of Coltrane, who died in 1967, was honored in direct and indirect ways throughout the five days of the festival which takes places annually in this mid-sized college town, 100 kilometres west of Toronto.
This year’s edition (September 5 to 9), featured two live performances of Ascension, Coltrane’s free jazz masterwork from 1965, one with the original instrumentation by an 11-piece Toronto ensemble at the local arts centre; the other on the main stage of the soft-seated River Run Centre concert hall featured the Bay-area ROVA saxophone’s quartet reimaging of the work, scored for 12 musicians adding strings and electronics to the basic ensemble. MORE
September 21, 2012
On Procedural Grounds
New World Records 80725-2
Kyle Bruckmann’s Wrack
Cracked Refraction
Porter Records PRCD 4061
As improvised music’s pre-eminent – well let’s face it probably only – oboe and English horn specialist, Oakland, Calif.-based Kyle Bruckmann has been flexing his organizational muscles as a band leader and composer during the past few years. These recent CDs showcase these talents admirably along, of course, with his distinctive soloing.
Gigging with New music ensembles, the Stockton Symphony and many area regional orchestras plus a smattering of Rock and electronic music bands is how Bruckmann makes his living, but it’s with his own Wrack quintet that he expresses his own ideas. Mostly consisting of Chicago musicians with whom Bruckmann played before relocating to the Bay area in 2003, the band is filled out by one player, violist Jen Clare Paulson, who is mostly involved in notated music ensembles, plus three others – bass clarinetist Jason Stein, bassist Anton Hatwich and percussionist Tim Daisy – who usually work the Improv/Jazz side of the equation, with associates such as saxophonists Ken Vandermark and Dave Rempis. MORE
September 6, 2012
A Short History
Jazzwerkstatt JW 099
Ballrogg
Cabin Music
Hubro CD 2515
Matthew Shipp Trio
Elastic Aspects
Thirsty Ear TH 57202.2
Albert Beger/Gerry Hemingway
There’s Nothing Better to Do
OutNow Records ONR 007
Something in The Air: New Excitement at the Guelph Jazz Festival
By Ken Waxman
One of jazz’s watershed musical creations, John Coltrane’s 1965 performance of Ascension marked his committeemen to Free Jazz and has since served as a yardstick against which saxophone-centred large ensemble improvisations are measured. On September 7 at the River Run Centre’s main stage, one of the highpoints of this year’s Guelph Jazz Festival is a reimagining of Coltrane’s masterwork by the Bay area-based ROVA Saxophone Quartet and guests. Not only is the ensemble gutsily tackling the suite, but its arrangement take Coltrane’s all-acoustic piece for five saxes, two trumpets and rhythm section and reconfigures it so that ROVA’s four saxes, and one trumpeter interact with two drummers, two violins, electric guitar and bass plus electronic processing. MORE
December 15, 2011
Planetary
SoLyd SLR 0407
Exquisitely empathetic after having played together for more than 30 years, Bay-area-based saxophone quartet ROVA still operates in a fashion that is as vigorous as it is eloquent, as this CD demonstrates. More to the point it confirms the quartet’s interaction, when you realize that the program which fits together seamlessly, is sutured between three compositions recorded in 2009, and two – including the title track – created six years earlier.
Just as generic to the situation, is that in performance ROVA is never at a loss for unique modulations and blends to introduce to the sound. The reason is two-fold, except for one personnel change very early on, the members of ROVA: soprano and tenor saxophonist Bruce Ackley; alto saxophonist Steve Adams; tenor saxophonist Larry Ochs; and Jon Raskin, who plays baritone and alto saxophone here, have been together long enough intuit the others’ reed strategies, and are confident enough to allow the music to develop organically. Additionally, over three decades not only has ROVA involved itself in a variety of thematic material and with many guests, but also the quartet isn’t anyone’s solitary pursuit. Each saxophonist – Ochs more than the others – spreads himself among other bands. MORE
November 15, 2011
Planetary
SoLyd SLR 0407
Exquisitely empathetic after having played together for more than 30 years, Bay-area-based saxophone quartet ROVA still operates in a fashion that is as vigorous as it is eloquent, as this CD demonstrates. More to the point it confirms the quartet’s interaction, when you realize that the program which fits together seamlessly, is sutured between three compositions recorded in 2009, and two – including the title track – created six years earlier.
Just as generic to the situation, is that in performance ROVA is never at a loss for unique modulations and blends to introduce to the sound. The reason is two-fold, except for one personnel change very early on, the members of ROVA: soprano and tenor saxophonist Bruce Ackley; alto saxophonist Steve Adams; tenor saxophonist Larry Ochs; and Jon Raskin, who plays baritone and alto saxophone here, have been together long enough intuit the others’ reed strategies, and are confident enough to allow the music to develop organically. Additionally, over three decades not only has ROVA involved itself in a variety of thematic material and with many guests, but also the quartet isn’t anyone’s solitary pursuit. Each saxophonist – Ochs more than the others – spreads himself among other bands. MORE
July 8, 2010
The Celestial Septet
New World Records NW 80708-2
A prime – and rare – case of parts actually adding up to a more impressive whole, The Celestial Septet joins two independently functioning improvising units into a first-class ensemble. Although both California-based ensembles, ROVA and the Nels Cline Singers, create impressive programs on their own, referencing sounds ranging from Energy Music to Noise Rock, this nearly 69-minute CD is open ended enough to provide a superlative environment for each band’s enhanced creativity. MORE
November 20, 2008
The Mirror World
Metalanguage MLX 2007
Two profoundly different – and stirring – musical musings on the unique films of the late Stan Brakhage, saxophonist Larry Ochs’ compositions, which make up The Mirror World, sonically reach the sense of infinite variety which Brakhage achieved in his films. Neither a portrait of one cinematic creation nor designed as a soundtrack to any of Brakhage’s works, Ochs compositions stand on their own, positing as original ways of hearing sounds as the film maker found personal ways to communicate his version of seeing light. MORE
January 31, 2008
The Juke Box Suite
Not Two MW 786-2
Marc Baron/Bertrand Denzler/Jean-Luc Guionnet/Stéphane Rives
Propagations
Potlatch P107
Evan Parker & Ned Rothenberg
Live At Roulette
Animul ANI 106
With unaccompanied group reed sessions now commonplace in improvised music, the challenge remains to make them more than technical exercises. Each of these notable CD succeeds in doing so; but each does so in an individual manner.
As could be expected from its populist title, The Juke Box Suite is probably the most lyrical of the many CDs from the Bay area-based ROVA quartet, which arguably pioneered the four saxophone concept in improv. Propagations, on the other hand, features a quartet of young French saxophonists, who have only performed in this formation since 2003. Completely eschewing the song form, the group’s one long performance uses textures, layering and arrangements that use reeds as sound sources rather than melody extensions. A duo, rather than a quartet like those on the other CDs, Brooklyn-based Ned Rothenberg and London-based Evan Parker exhibit their mastery of the multi-reed form by blending different combinations of Rothenberg’s three reeds and Parker’s two on six live performances. MORE
January 31, 2008
Live At Roulette
Animul ANI 106
Marc Baron/Bertrand Denzler/Jean-Luc Guionnet/Stéphane Rives
Propagations
Potlatch P107
ROVA
The Juke Box Suite
Not Two MW 786-2
With unaccompanied group reed sessions now commonplace in improvised music, the challenge remains to make them more than technical exercises. Each of these notable CD succeeds in doing so; but each does so in an individual manner.
As could be expected from its populist title, The Juke Box Suite is probably the most lyrical of the many CDs from the Bay area-based ROVA quartet, which arguably pioneered the four saxophone concept in improv. Propagations, on the other hand, features a quartet of young French saxophonists, who have only performed in this formation since 2003. Completely eschewing the song form, the group’s one long performance uses textures, layering and arrangements that use reeds as sound sources rather than melody extensions. A duo, rather than a quartet like those on the other CDs, Brooklyn-based Ned Rothenberg and London-based Evan Parker exhibit their mastery of the multi-reed form by blending different combinations of Rothenberg’s three reeds and Parker’s two on six live performances. MORE
January 31, 2008
The Juke Box Suite
Not Two MW 786-2
Marc Baron/Bertrand Denzler/Jean-Luc Guionnet/Stéphane Rives
Propagation
s
Potlatch P107
Evan Parker & Ned Rothenberg
Live At Roulette
Animul ANI 106
With unaccompanied group reed sessions now commonplace in improvised music, the challenge remains to make them more than technical exercises. Each of these notable CD succeeds in doing so; but each does so in an individual manner.
As could be expected from its populist title, The Juke Box Suite is probably the most lyrical of the many CDs from the Bay area-based ROVA quartet, which arguably pioneered the four saxophone concept in improv. Propagations, on the other hand, features a quartet of young French saxophonists, who have only performed in this formation since 2003. Completely eschewing the song form, the group’s one long performance uses textures, layering and arrangements that use reeds as sound sources rather than melody extensions. A duo, rather than a quartet like those on the other CDs, Brooklyn-based Ned Rothenberg and London-based Evan Parker exhibit their mastery of the multi-reed form by blending different combinations of Rothenberg’s three reeds and Parker’s two on six live performances. MORE
January 31, 2008
Marc Baron/Bertrand Denzler/Jean-Luc Guionnet/Stéphane Rives
Propagations
Potlatch P107
ROVA
The Juke Box Suite
Not Two MW 786-2
Evan Parker & Ned Rothenberg
Live At Roulette
Animul ANI 106
With unaccompanied group reed sessions now commonplace in improvised music, the challenge remains to make them more than technical exercises. Each of these notable CD succeeds in doing so; but each does so in an individual manner.
As could be expected from its populist title, The Juke Box Suite is probably the most lyrical of the many CDs from the Bay area-based ROVA quartet, which arguably pioneered the four saxophone concept in improv. Propagations, on the other hand, features a quartet of young French saxophonists, who have only performed in this formation since 2003. Completely eschewing the song form, the group’s one long performance uses textures, layering and arrangements that use reeds as sound sources rather than melody extensions. A duo, rather than a quartet like those on the other CDs, Brooklyn-based Ned Rothenberg and London-based Evan Parker exhibit their mastery of the multi-reed form by blending different combinations of Rothenberg’s three reeds and Parker’s two on six live performances. MORE
October 3, 2006
Totally Spinning
Black Saint BS 12026-2
Always improvised music’s second best-known saxophone quartet, the unWSQ perhaps or maybe more appropriately the Rolling Stones to the World Saxophone Quartet’s Beatles, Bay area-based ROVA has maintained an impressive consistency over the years.
Unlike Mick, Keef and the boys – and unlike some of the WSQ’s more populist recent projects – ROVA’s commitment to constant experimentation has kept it from becoming complacent or slipping into expected patterns. Almost 30 years on, the band still remains as vital as ever. MORE
January 30, 2006
IAN SMITH/SIMON H. FELL/HARRIS EISENSTADT
K3
Bruce’s Fingers BF 58
HARRIS EISENSTADT
Ahimsa Orchestra
Nine Winds NWCD0237
Having established himself with hard work as an in-demand percussionist and band leader in Los Angeles, Toronto-born Harris Eisenstadt is branching out. He’s traveling to the East Coast, Europe and Africa to match wits with his improvising contemporaries and writing more involved compositions for larger ensembles.
K3 is an example of the former, where he hooks up with British-born bassist Simon H. Fell, who now lives in France, and Dublin-born, London-based trumpeter Ian Smith. Conversely the Ahimsa Orchestra is a local project, featuring the percussionist, conductor Omid Zoufonoun and two differently constituted, 12-piece ensembles running through two of Eisenstadt’s compositions, the three-part “Non-Violence” and the four-section “Relief”. Kudos must go to the young drummer for attempting different projects. However, while he fits comfortably with Smith and Fell, his reach seems to have exceeded his grasp with the 67-minute CD by the band named with Mahatma Gandhi’s word for enemy-loving non-violence. MORE
October 10, 2005
Electric Ascension
Atavistic ALP159CD
Giving the symbolic finger to the museum-quality preservationists who make up most of jazz repertory companies, Rova, the Bay Area sax quartet, has audaciously created its own version of “Ascension”, John Coltrane’s seminal work from 1965. Then as further nose-thumbing to the crowd that prefers polite Duke Ellington or Miles Davis-Gil Evans style recreations, the band plus eight helpmates, has conflated the piece still further into a noise and electronic extravaganza.
What’s more, this is the second time the Rova crew has honored “Ascension”. In 1995, adding a rhythm section and additional stellar soloists such as trumpeter Raphe Malik and the late tenor saxophonist Glenn Spearman, the band created a lengthy acoustic version of Trane’s original suite. Still convinced that “Ascension” is a master work that deserves to be played even more often, Rova members Larry Ochs and Jon Raskin decided on another go round, radically changing the instrumentation without losing the composition’s essence. MORE
May 30, 2005
Motion
Clean Feed CF025CD
Ever shifting, the personnel of the Lisbon Improvisation Players (LIP) this time out encompasses an American-Portuguese accord. MOTION unites LIP’s core – alto and baritone player Rodrigo Amado and drummer Acácio Salero – with two Americans – bassist Ken Filiano, longtime playing partner of folks like multi-reedist Vinny Golia and guitarist Dom Minasi; plus ROVA sax quartet’s Steve Adams on sopranino and tenor saxophones.
Operating as they’ve been playing together for years this two-sax/two rhythm quartet shows that regional differences between improvisers are quickly disappearing – if they ever existed at all. Naturally Amado and Salero aren’t just any musicians, both players have extensive improv credentials. Locals, guitarist Nuno Rebelo and violinist Carlos Zíngaro plus Americans, trombonist Steve Swell and drummer Lou Grassi have recorded with the saxophonist. The drummer, who also plays saxophone, was part of LIP’s three-sax line-up in 2000. MORE
December 27, 2004
An Alligator in Your Wallet
EWE
By Ken Waxman
December 27, 2004
Limited to Japanese distribution, An Alligator in Your Wallet is an important CD because it provides new evidence for what already should be regarded as truisms.
One is that the usually self-contained Bay area saxophone quartet ROVA can smoothly function as the sax section in any sized ensemble. The other is that pianist Satoko Fujii, who divides her time between Tokyo and New York, is a versatile enough composer to utilize the idiosyncrasies of these musicians in more experimental pieces than she usually writes for her own bans and combos. MORE
November 22, 2004
HENRY KAISER/WADADA LEO SMITH/YO MILES!
Sky Garden
Cuneiform Rune 191/192
One of the most memorable -- if not the most memorable -- tributes to Miles Davis, the exultant Yo Miles! band makes its case for a variety of reasons.
First of all, it leaves the BIRTH OF THE COOL and ALL BLUES emulation to the neo-cons and instead concentrates on Davis’ little-appreciated 1971-1975 electric period. Second, unlike younger fusion bands that have recorded embarrassingly overwrought electric Miles imitations, Yo Miles! bandleaders -- guitarist Henry Kaiser and trumpeter Wadada Leo Smith -- are old enough to have heard the sounds when they first appeared. Third, the two and their sidefolk approach the concept languidly, having worked on and refined their ideas -- while involved in other projects -- since 1998. MORE
July 21, 2003
ALESSANDRO BOSETTI/MICHEL DONEDA/BHOB RAINEY
Placés dans l’air
Potlatch P103
ROVA
Resistance
Victo cd 086
Once thought outlandish, all saxophone bands have become so commonplace in improvised music that it takes real inventiveness to differentiate any reed collective from others. PLACÉS DANS L’AIR and RESISTANCE manage to overcome this maxim, but in entirely different ways.
Actually, the superiority of the second CD shouldn’t surprise anyone: it’s by ROVA, the Bay area-based sax quartet, which has been operating in this configuration since 1978, constantly evolving and innovating. Organized as temporarily as ROVA is long standing, the trio of soprano saxophonists on the first CD is a one/off meeting among three experimental reedists: Paris-based Michel Doneda, Milan-based Alessandro Bosetti, and Bhob Rainey from Boston. Their disc succeeds because they manage to fuse their individual low-key approaches to the horn so that it appears to take on the characteristics of one immense reed instrument. MORE
March 19, 2000
As Was
Atavistic Unheard Music UMS/ALP 216 CD
Founded at around the same time as the World Saxophone Quartet in the late 1970s, ROVA has always existed as a sort of the Bizarro West Coast twin to the that woodwind ensemble.
Yet today, when all-saxophone groupings are as commonplace as self-important pronouncements from Wynton Marsalis, listening to this 1981 disc shows exactly how ROVA defined itself and has since managed to evolve. Open to influences as varied as 20th Century classical music, avant garde jazz and rock music, ROVA often produced a devil may care cacophony that was as consistent as it was exhilarating.
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