Reviews that mention Guillermo Gregorio

October 23, 2019

Paula Shocron & Pablo Diaz with Guillermo Gregorio

Fundacja Słucha FSR 09/2019

Rupp/Tom/ Mahall

Rupp/Tom/ Mahall

Barefoot Records BREC 059 LP

More than the substitution of one chordal instrument for another alongside percussion and a clarinet separates these meaningful sessions from one another. Both original and unhampered by conventional considerations, each approaches improvisation in a convincing if disparate fashion. Recorded during a gig at a Berlin performance space, the first disc captures eight free-form elaborations by cosmopolitan players who play in this configuration among all their other commitments. Germans, guitarist Olaf Rupp and clarinetist Rudi Mahall have worked with a variety of players from Peter Brötzmann to Barry Guy, while Danish drummer Kasper Tom works with the likes of Axel Dérner as well as leading his own bands. A meeting of two generations of Argentinean improvisers in an avant-chamber-Jazz environment, Diálogo is appropriately titled. The CD features younger musicians, pianist Paula Shocron and percussionist Pablo Díaz is a first-time collaboration with clarinetist Guillermo Gregorio, who is a long-time US resident, but was a participant in Movimiento Música Mús, which presented multi-media sonic experiments in Argentina during the 1960s and 1970s. MORE

May 17, 2019

Guillermo Gregorio/Rafal Mazur/Ramon Lopez

Wondering the Sounds
Fundacja Słuchaj FSR 09/2018

A first-time meeting of experienced improvisers from three different countries, Wandering the Sounds subtly and sophisticatedly demonstrates the global application of free music. Global is an apt description since clarinetist Guillermo Gregorio, is an Argentinean who has been experimenting with a diversity of free and aleatory sounds in diverse genres and configurations for decades from his Chicago home. Drummer Ramon Lopez is a Paris-based Spaniard who has worked with the likes of Barry Guy from Britain and Joëlle Léandre and France; while Krakow acoustic bass guitarist Rafal Mazur has concertized with everyone from Canadian François Carrier to Catalan Agustí Fernández. MORE

August 1, 2016

Steve Swell

Reflections & Renewals
NotTwo MW 929-2

Michael Jefry Stevens

Brass Tactics

Konnex KCD 5315

Building on your experiences and concentrating on your best attributes are two elements of many people’s persona once they reach their sixth decade. It’s the same with musicians – especially if they’re involved with Jazz and/or improvised music. Attaining or coming close to seven decades of life either side of 60 gives provides many enhanced creativity. Gifted with new maturity, unlike most Pop performers, who fasten on their teens and twenties, creative improvisers continue producing major works, some of which because of honed skills are even better than those produced before. MORE

March 22, 2016

Microgroove: Forays into Other Music

John Corbett
Duke University Press

By Ken Waxman

Searching for the equivalent of a travel guide to the often uncharted territories of turn-of-the-century, so-called other music should lead to this volume. A collection of essays, interviews and reviews written between 1990 and 2014, Microgroove outlines the achievements of many of the progenitors and disseminators of non-mainstream music during that epoch. A Chicago-based music writer, concert promoter, art curator and record producer, John Corbett has been intimately involved with variants of what he describes as “music that demands a different mode of listening” for decades. Like an embedded anthropologist studying the culture of particular tribes Corbett is also able to place these sonic advances in a global context. MORE

January 13, 2014


Window and Doorway
Driff Records CD 1301

Equilibrium involve in balancing a small-scale, so-called Chamber Jazz session so that it sounds neither slapdash nor formal is an art in itself. If the organization is too formal, the result can be as lifeless as pretentiously notated sounds; too slapdash and the balance dissolves and loses its focal point. That’s why the sonic architecture displayed on Window and Doorway is so impressive.

Another of the session`s points of interest is that rather than being string-centred, the 11 compositions and group improvisations advance the qualities of trombone, clarinet and piano, with the chordal instrument’s qualities serving to underlay the more powerful horn sounds. This isn’t much of a stretch since each of the trio members is experienced in many forms of musical organization. Chicago-based clarinetist Guillermo Gregorio composes music and plays in improv settings; New York trombonist Steve Swell has been a member of many Jazz and improv bands; and pianist Pandelis Karayorgis has had similar experiences in-and= out experience from his Boston base. MORE

November 26, 2012

Josh Berman & His Gang

There Now
Delmark DE 2016

Venerating a bit of Chicago history while turning the concept on its head, is the idea behind cornetist Josh Berman’s There Now CD. Titling his seven-piece group as a “gang”, he references the Eddie Condon-Austin High “gang” of the late 1920s, and arranged five of the Chicago School’s Dixieland signature tunes plus three of his own compositions for this project. But the subversive allure of the CD is that it isn’t a Trad Jazz retread, but an exercise in post-modern voice approximation. MORE

August 11, 2008

Keefe Jackson's Project Project

Just Like This
Delmark DE 580

Making the most of the varied textures available from a 12-piece ensemble, reedist Keefe Jackson’s straight-ahead Project Project adumbrates jazz’s future, while alluding to its past. Built up from the four-square walking of bassist Anton Hatwich, and the rolls and flams of drummer Frank Rosaly, the piano-less group, consisting of yet another wave of new Chicago players, is somewhat reminiscent of Gerry Mulligan’s Concert Jazz Band.

But with Marc Unternährer’s tuba prominent among the brass, plus with clarinets’ tremolo trills and coloratura glissandi heard as often as saxophone slurs and honks, Jackson’s extended compositions include an overlay of post-modern impressionism. Perhaps alluding to the band’s double-barreled name, a common trope is to twin two instruments – such as the trombones of Jeb Bishop and Nick Broste – in contrapuntal theme elaboration, then followed a transitional growl from Dave Rempis’ baritone saxophone, fluidly showcase variations from the others. MORE

May 1, 2006


Other Valentines
Atavistic ALP 165CD

Bridges Freeze Before Roads
Longbox Records lbt036

Chicago cello crusader Fred Lonberg-Holm is usually so busy with his back-up duties in bands ranging from the Vamndermark5 to Peter Brötzmann’s Tentet to what seems like half the CDs recorded in that city, that his solo dates are infrequent.

From the evidence presented here, this may be a wise strategy. OTHER VALENTINES is his own trio’s follow-up tribute CD to the music of pioneering jazz cellist Fred Katz. It also includes compositions by, among others Sun Ra, Gil Scott-Heron, Wilco’s Jeff Tweedy and Pink Floyd’s Syd Barrett. But indolent pacing and a limited color palate stick the 10 tracks in a box of muted sameness that it barely escapes. MORE

April 10, 2006


New World Records NW 80639-2

Truthfully a New music session, the eight notated compositions by Argentinean-American composer/reedist Guillermo Gregorio owe their overall careful implementation and shape to more than the Chicago-based saxophonist and clarinetist’s theoretical basis for writing. Nearly all of the members of Gregorio’s Madi ensemble and featured guests have experience with improvised music, including the leader himself. Additionally he has such respect for the spontaneous impulse that space was left in the final track for an improvisation by bass clarinetist Ken Vandermark. MORE

April 9, 2004


Delmark DG-546

Circumvention 038

Putting together a drummer-less combo has evolved past novelty to assertion. But the underlying sonic concept and with whom you choose to play, makes an important difference in how your music is perceived. These two quartet session demonstrate that.

Chicago bassist Josh Abrams’ debut disc scores because he had the foresight to recruit a band made up of players of vastly different experience to present a combination of his own and group compositions in 2002. Unfortunately, TUNNEL doesn’t fare as well. It does have cohesion, since all four participants were graduate students at the University of California San Diego School of Music when it was recorded in 1999. Probably for the same reason though, parts of the CD smack of over familiarity, others of academic ostentation. One result is that its seven compositions seem to take up more listening time than CIPHER’s 10 tracks, even though the second disc is actually about four minutes longer. MORE