Reviews that mention Matt Bauder

August 19, 2017

Harris Eisenstadt Canada Day

On Parade in Parede
Clean Feed CF 413 CD

Harris Eisenstadt

Recent Developments

Songlines SGL 1620-2

By Ken Waxman

Having reached a comfortable maturity in his playing and composing, Toronto-born, Brooklyn-based percussionist Harris Eisenstadt isn’t averse to showcasing both his talents in varied settings. Like an athlete who excels at more than one sport, the drummer has with On Parade in Parede created a spirited FreeBop session with his Canada Day quartet. Meanwhile Recent Developments is a spiky recasting of composed chamber jazz played by a nonet. MORE

December 26, 2016

Taylor Ho Bynum

Enter the Plustet
Firehouse 12 FH 12-04-01-025

Illegal Crowns

Illegal Crowns

RogueArt ROG-0066

Quietly and without excessive fanfare, Connecticut-based cornetist Taylor Ho Bynum has become one of this century’s most accomplished composers, improvisers, orchestrators and band leaders. Like a fighter who excels in whatever weight classes he trains for, Bynum has not only been involved in the macro sense, as one assistant conductor of some of Anthony Braxton’s major creations, but also in micro situations, where he manages to convey the breath of his ideas performing solo or in ensembles as small as duos, usually with drummer Tomas Fujiwara. MORE

April 7, 2015

Artist Feature

Rob Mazurek
By Ken Waxman

Death, loss and similar topics aren’t usually the subject of jazz performances. But several of Chicago-based cornetist Rob Mazurek’s most recent CDs have dealt with bereavement to some extent. Return the Tides, for instance, recorded with Black Cube SP (BCSP) is what he describes as a “cathartic modern psychedelic spiritual” honoring his mother Kathleen who died in 2013. Similarly Mother Ode recorded on what would have been his mother’s 72nd birthday, uses cornet, bells, implements, incantation and noise to celebrate her lasting influence on Mazurek’s art. Meantime Alternate Moon Cycles is a salute by Mazurek plus an electric trio to one of his mentors, trumpeter Bill Dixon. MORE

January 1, 2013

Harris Eisenstadt

Canada Day Octet
482 Music 482-1080

Harris Eisenstadt

Canada Day III

Songlines SGL 1596-2

Modest to a fault, despite Canadians’ contribution to Jazz since its beginnings, it took the 21st century and Brooklyn-based percussionist Harris Eisenstadt to trumpet his native land in his band name. Formed for a series of gigs beginning on July 1, Canada Day, the quintet has since become one of the Toronto-born drummer’s main touring vehicles. Finally now including another Canadian-in-the-U.S. – powerful and unfussy bassist Garth Stevenson – in the band, the high-quality CDs here demonstrate the flexibility of the core unit plus the percussionist’s compositional heft when writing for both the regular group and an expanded octet. MORE

January 1, 2013

Harris Eisenstadt

Canada Day III
Songlines SGL 1596-2

Harris Eisenstadt

Canada Day Octet

482 Music 482-1080

Modest to a fault, despite Canadians’ contribution to Jazz since its beginnings, it took the 21st century and Brooklyn-based percussionist Harris Eisenstadt to trumpet his native land in his band name. Formed for a series of gigs beginning on July 1, Canada Day, the quintet has since become one of the Toronto-born drummer’s main touring vehicles. Finally now including another Canadian-in-the-U.S. – powerful and unfussy bassist Garth Stevenson – in the band, the high-quality CDs here demonstrate the flexibility of the core unit plus the percussionist’s compositional heft when writing for both the regular group and an expanded octet. MORE

October 5, 2011

Harris Eisenstadt

Canada Day II
Songlines SGL 1589-2

Although he left Toronto more than a decade ago, Brooklyn-based drummer Harris Eisenstadt hasn’t abandoned his home town … or country. This thoroughly modern session is the second CD is by one of his working band, whose name came from its first gig on July 1. Complete with a cover painting – with canoe – reminiscent of the Northern Ontario summer camp the drummer attended, Eisenstadt’s eight originals are played by a quintet of top-flight New York jazzers, none of whom is Canadian, although bassist Elvind Opsvik is Norwegian. MORE

August 1, 2011

Brian Carpenter’s Ghost Train Orchestra

Hothouse Stomp
Accurate Records AC-5062

Brian Lynch

Unsung Heroes

Hollistic MusicWorks HMW 1

Mark Rapp’s Melting Pot

Good Eats

Dinemec Records DJCD 253

One of the unfortunate conceits that Jazz has inherited from so-called Classical music is the Great Man celebration. That is musical history reduced to a pantheon filled with Greek-like gods – every notice the architecture of most concert halls? – with commemorations of these heroes and their works taking up the majority of concerts and performances in these genres. MORE

February 12, 2011

Exploding Star Orchestra

Stars Have Shapes
Delmark DE 595

Mike Reed’s Loose Assembly

Empathetic Parts (with Roscoe Mitchell)

482 Music 482-1074

By Ken Waxman

One of the standout players among Chicago’s recent burgeoning crop of improvised musicians, alto saxophonist Greg Ward is versatile enough to gig with groups ranging from the chamber-oriented International Contemporary Ensemble to those lead by saxophonist Ernest Dawkins and other members of the Association for the Advancement of Creative Musicians (ACCM). These CDs confirm his skills, although his role is more prominent in drummer Mike Reed’s Loose Assembly then as part of cornetist Rob Mazurek’s 14-piece Exploding Star Orchestra. His contributions to Reed’s Empathetic Parts are even more impressive, since he shares reed duties with saxophonist/flautist Roscoe Mitchell, more than 40 years his senior and an AACM founder. For his part, Mitchell is spontaneous enough to assimilate a performance strategy already tested with the existing five-piece band. MORE

April 9, 2010

Laura Andel Orchestra

Doble Mano
Rossbin Records RS029

Completely inured to the challenges of contemporary composition, Buenos Aires- born-New Yorker Laura Andel writes pocket-orchestra pieces in which notated sounds blend with improvisation, as staccato and lyrical passages vie for supremacy. Doble Mano, whose title reflects the twinning of different orchestral groupings, raises the ante further by interjecting into the performance characteristic sonic fragments from the South American bandoneon and Indonesian gamelan.

With the slurs and discordance available from a prepared Fender Rhodes often used as an additional rhythmic source, Andel, who conducts here, strives for an appropriate balance between the rhythmic and melodic sections of this eight-part suite. Double bass, viola, piano, cornet and clarinet – plus squeeze-box – are arrayed to produce resolute cabaletta-like pulses, with the rattling and scraping timbral beats arrive from the vibraphone, gamelan instruments and electric piano – with Ursel Schlicht’s acoustic piano meditating between both solitudes. Enharmonic notation may even help balance this mirroring. MORE

June 13, 2009

Taylor Ho Bynum Sextet

Asphalt Flowers Forking Paths
hatOLOGY 675

Making the transition from featured sideman to band leader, Brooklyn-based cornetist Taylor Ho Bynum is beginning to preserve the unique sound(s) of his group(s) on record. The (s)s are deliberate, because unlike the fabled jazz combs of the 1950s and 1960s, many of his bands are ad-hoc groupings organized for a specific date or recording project.

Yet as this notable live session indicates, Bynum, who has always been cognizant of career-building, has managed to lure a steady group of up-and-coming players as his first call seconds. The band on Asphalt Flowers Forking Paths is the same one with which he has been gigging since 2005, while he and most of the other members also interact in outside situations, including different Anthony Braxton ensembles. That likely explains the emphatic cooperation among the conetist, his Braxton band pal, guitarist Mary Halvorson, and drummer Tomas Fujiwara, with whom Bynum has recorded in a duo formation. The additional players – violist Jessica Pavone, who takes another chair in Braxton groups, reedist Matt Bauder, on call for New York and Chicago gigs, and guitarist Evan O’Reilly – add their talents to the three-part “whYeXpliCitieS”, the CD’s centrepiece. MORE

November 21, 2006

Reuben Radding

Fugitive Pieces
Pine Ear Music PME 002

By Ken Waxman

Proving his versatility once again, Brooklyn-based bassist Reuben Radding heads up a quartet dedicated to providing an American response to the sort of reductionist sounds usually associated with European and Japanese improvisers.

Not that there’s anything xenophobic about the pieces, pointedly linked to Canadian author Anne Michaels book, Fugitive Pieces “which our music has nothing to do with”, he writes. More generically, the seven pieces on the CD demonstrate that the restrained ethos, which Japanese call Onkyo can be adopted some players whose first alliance is with more demonstrative sounds. MORE

April 5, 2004

SCOTT ROSENBERG

Creative Orchestra Music, Chicago 2001
New World # 80572-2

WALTER THOMPSON ORCHESTRA
Pexo - A Soundpainting Symphony
9Winds NWCD0234

Creating structures for ensembles of improvising musicians and voices is the thread that unites these two sessions. Scott Rosenberg and Walter Thompson have formulated different paths to creation -- the former by mixing improv and written material, the later by utilizing a composing-conducting system of gestured signals.

Although both methods are praiseworthy, neither disc is 100 per cent satisfying. That’s because application of the theory sometimes breaks down in the spontaneously recorded practice. MORE

February 9, 2004

MATT BAUDER

Weary Already of the Way
482 Music 482-1025

MATT BAUDER/JASON AJEMIAN
Object 3
Locust no. 38

Probably the biggest challenge facing listeners to reedist Matt Bauder’s two new CDs is figuring out how much of the music is composed, how much is improvised and how much is the result of studio manipulation. On the other hand you can merely allow the sounds to seep from your organ of Corti into your consciousness, reacting to them on a purely visceral level.

Bauder is one of the many young Chicago improvisers whose allegiance is as much with post-rock, contemporary classical and electro-acoustic drone as it is with jazz. Most of the players work in each others’ bands and a considerable number of them -- including at least three on the sextet date -- have played with the scene’s most prominent representative, saxist Ken Vandermark. MORE