Reviews that mention Pierre Dørge

May 22, 2015


The Gospel According to Dudu Pukwana
Edgetone EDT 4144

Heliocentric Counterblast

Planetary Tunes

Enja Yellowbird ENJ-9726

Aki Takase/Alexander Von Schlippenbach

So Long, Eric

Intakt CD 239

When it comes to serious improvised music, tribute discs are as likely to be a bane as a boon. That’s because the artist involved faces a double challenge. Firstly can the player salute the honoree in such a way that the music will amplify rather than diminish that person’s reputation? Plus if that’s done properly will the resulting product be imaginative rather than an unoriginal run though of familiar tunes? Luckily the sessions here stay away from the overly familiar Miles-Louis-Duke-Trane team to honor less frequently venerated innovators. But while each session is enjoyable and while there are pleasurable and cultivated sounds on tap, none attains the level of creative freshness that the prototypes did. MORE

April 30, 2006

Szilárd Mezei International Ensemble

Leo Records

Pierre Dørge & New Jungle Orchestra
Negra Tigra

Copenhagen Art Ensemble
Don’t Mention the War
Stunt Records

By Ken Waxman
April 30, 2006

Variations on a theme, each of these CDs from Northern and Central European mid-sized bands subtly mesh tinctures available from different-sized ensembles into ensemble aural pictures, rather then relying on the vibrant colors from single featured soloists.

Constituted as a bedside cameo, a front room landscape or a museum-sized hanging, the three discs feature bands of eight (Draught), 10 (Negra Tigra), and 14 (Don’t Mention the War) players – with all the ensembles officially smaller than big bands, but large enough to provide distinctive shadings in these art works. MORE

November 22, 2004


Avenue X
Ninth World Music NWM 029 CD

The Darkest River
Ninth World Music NWM 027 CD

Difficult to imagine, but there are times during AVENUE X when the consolidated sounds of the Capote quartet are so harsh and brutal that in comparison the Wild Mans Band (WMB)’s output appears as restrained and serene as that of the Modern Jazz Quartet.

Not meant as a criticism, this state of affairs merely points out how effectively the vocabulary of pioneering fire-breathers like WMB’s reedman Peter Brötzmann and guest guitarist Pierre Dørge has permeated the fabric of modern improv. From the 1960s on, in the German saxophonist’s case and from the 1970s for the Danish guitarist, they and others proved that noise, speed and volume could just as easily be adapted to jazz as rock music. MORE