Reviews that mention Joel Grip

August 28, 2019

ism

Metaphor
Umlaut Records umcd 0030

Pat Thomas/John Butcher/Ståle Liavik Solberg

Fictional Souvenirs

Astral Spirits MF 191/AS 088

Equally proficient expressing his ideas on piano or with electronics, the UK’s Pat Thomas appears to have developed conflicting Dr. Jekyll and Mr. Hyde-like strategies for either acoustic or processing improvisations. On Metaphor for instance, Thomas who has worked with everyone from Derek Bailey to Spring Heel Jack, fully assimilates the role of a pianist commuted to swinging FreeBop, assisted by Swedish bassist Joel Grip and French drummer Antonin Gerbal. The six remembrances displayed on Fictional Souvenirs however meld the oscillated jitters and wiggling wave forms from Thomas’ Moog Theremini and IPad-based electronics with the distinctive reed facility of fellow Londoner soprano and tenor saxophonist John Butcher and percussion sprawls from Norwegian drummer Ståle Liavik Solberg. MORE

June 22, 2019

Zyklus

Zyklus 1
Umlaut Records 28+29/Såj Records 47+48

One of the originators of European Free Jazz in the 1960s, Mariestad-born Berlin-resident drummer Sven-Åke Johansson, 75, reconvenes with two young veterans of the scene, Swiss-born Paris-based tenor saxophonist Bertrand Denzler, 56 and Swede-in-Berlin bassist Joel Grip, who is about a decade younger, for two CDs of unbridled improvisation. Denzler, who has explored the microtonal frontiers of Free Music with the Hubbub quintet and Grip, whose associates have ranged from Antonin Gerbal to Didier Lasserre solidly fuse into an ensemble with the drummer whose playing partners have range from the bombast of Peter Brötzmann to the minimalism of Andrea Neumann. MORE

September 1, 2015

Je Suis!

Ça Va?
Umlaut Records UM CD 0019

All Included

Satan in Plain Clothes

Clean Feed CF 328 CD

Testimony to the unquestioned maturity of Scandinavian Jazz and Improvised music is the number of youngish improvisers on the scene both in Europe and overseas. Case in point is Stockholm-based trombonist Mats Äleklint, who brings a rugged scope and agile resilience to his solo and section work. Someone who has played in bands as disparate as The Thing XXL and with Carla Bley and Steve Swallow, Äleklint is not only the link between the groups here, but ups the excitement factor each time he solos. MORE

May 19, 2014

Szilárd Mezei International Improvisers Ensemble

Karszt
SLAM CD 550

Following a recent series of small group CDs, Hungarian-Serbian violist Szilárd Mezei revisits large ensemble writing and arrangement with a two-CD set of compositions for a 23-piece band. Working in an idiom that draws on Jazz-inflected improvised music, reconstituted folklore and echoes of so-called classical music, Karszt’s main reference points are actually itself – or Mezei’s other music. More crucially though, when the exultant sounds produced here are examined, it’s clear that he has created one possible path for advanced 21st century composition. MORE

February 7, 2013

Label Spotlight

Umlaut
By Ken Waxman

For Swedes the umlaut or two dots over common vowels in Swedish transforms one sound into another. When Swedish-born, Berlin-based bassist Joel Grip explained that to others while studying in Baltimore, the transformative concept appealed to him so much that when he founded a record label he decided to adopt Umlaut as its name. Since 2004, Umlaut, now a musical collective with members in Sweden, Germany and France, has released 25 productions. The discs feature a cross section of young improvisers, including Grip, trumpeters Axel Dörner and Niklas Barnö, saxophonist Pierre-Antoine Badaroux and pianist Alexander Zethson plus more established musicians such as drummer Sven-Åke Johansson. “The research and questioning of improvisation and composition play an important role for Umlaut. Our improvisations become composed memory when heard, and our compositions are stated improvised memories,” says Grip. MORE

February 2, 2013

Pierre-Antoine Badaroux

Composition No. 6
Umlaut Records umfrcd-06

Yoni Kretzmer’s 2 Bass Quartet

Weight

OutNow Records ONR 008

Using the textures of two double basses to enhance the rhythmic and descriptive qualities of ensembles has its antecedents in both large group and combo music of the mid-1960s onwards. However common usage is limited by the necessity of finding sympathetic bull fiddlers, not to mention economies of scale. These CDs – one mostly French, the other mostly American – demonstrate how two basses can be utilized in different contexts. Unsurprisingly neither sounds remotely like the other. MORE

August 11, 2012

Didier Lasserre/Joel Grip/Niklas Barnö

Can't Stop Snusing
Ayler AYLCD-126

Rougier/Dubois/Lasserre

Entendus avec l'âme

Petit label pl free 005

Recorded four months apart with exactly the same instrumentation and sharing Didier Lasserre, one of France’s most accomplished percussionists, these trio sessions demonstrate that there are many approaches to free improv are there are musicians. However as a regularly constituted group, Snus, which links Bordeaux-based Lasserre with two Scandinavians, demonstrates on Can't Stop Snusing more exploratory interface and timbral revelations than the sounds created on Entendus avec l'âme, which pairs the drummer with local associates. MORE

June 15, 2012

Peeping Tom

Boperation
Umlaut Records umfr-002

Viktor Tóth

Popping Bopping

Budapest Music Center Records BMC CD 191

Decoding Jazz’s history so that it’s relevant for contemporary musicians has become one of the concerns of this century. While it’s obvious that those who do not know history are doomed to repeat it – in an inferior fashion – conversely those who know only history can’t contribute to the music’s evolution.

With the same quartet instrumentation, saxophonist Viktor Tóth’s combo and the Peeping Tom group have come up with CDs that attempt to fashion Bop-influenced sounds according to their own concepts. Both bands are Pan-European, which in itself says something about dealing with a music that was almost 100% American-dominated until the end of the 20th century. However each is recalculating the tradition according to its own ideas. Boperation takes 10 Bop and Hard Bop standards and subtly reconfigures them with post-modern interpretations. Popping Bopping is another matter. While the six tunes here are all originals by Budapest-based alto saxophonist Tóth, most of the time the combo voicing and arrangements sound almost identical to that of post-Bop alto saxophonist Ornette Coleman’s quartet with trumpeter Don Cherry circa 1960-1962. MORE

June 20, 2011

Keijser/Barnö/Grip/Strid

Kege Snö
Umlaut Records umcd0010

Rich Halley Quartet

Live at the Penofin Jazz Festival

Pine Eagle 001

Ornette Coleman’s harmolodic inspiration is now so much a part of the Jazz discourse that its influence keeps popping up in unexpected places – at least as far as the music’s mainstream is concerned.

Consider these two fundamental quartet sessions of original compositions since Coleman’s early quartets which contrasted saxophone, trumpet, bass and drum timbres evidently stimulated their programs. Interestingly enough, both discs were recorded far from the nexus of major Jazz centres. Kege Snö was created in Heby, a municipality in east-central Sweden, not too far from Stockholm. Live at the Penofin Jazz Festival was recorded even further afield, particularly if your Jazz locus is Manhattan, Chicago or Los Angeles. The annual Penofin Jazz Festival takes place in a mountainous region 130 miles north of San Francisco. MORE

October 1, 2010

Peeping Tom

File Under: Bebop
Umlaut [lc-umcd01]

Mike Reed’s People, Places & Things

Stories and Negotiations

482 Music 482-1070

Respect for the Jazz tradition runs in cycles. In the early 1970s when Jazz-Rock Fusion claimed popular attention, it seemed that the only young musicians interested in tradition were so-called avant-gardists such as reedist Anthony Braxton and the Air trio. During the next decade when the musical Reganites appeared, Jazz standards had to be recreated in a certain style and were part of their protected turf. Now that many of the neo-cons have adopted hip-hop moves or concentrate on mainstream styled originals, the tradition has been jettisoned along with fade haircuts. Who is left to keep the tradition going then? Surprise, it’s the experimental musicians again. MORE

April 24, 2010

Niklas Barnö, Joel Grip, Didier Lasserre

Snus
Ayler Records aylCD-088

Schmidt/Rohrer/Heberer

Pieces for a Husky Puzzle

Jazz Werkstatt JW 074

Using the expressive properties of a trumpet as a lead instrument with only rhythmic and chordal accompaniment is a challenging task for any brass player Yet as these CDs prove, two Northern European trumpeters have done just that with noteworthy results.

More impressionistic of the two, Pieces for a Husky Puzzle, finds Schleswig, Germany-born Thomas Heberer using a quarter-tone trumpet to blend with the low-key cadences of pianist Andreas Schmidt from Berlin – who additionally composed the seven inter-related tracks here – and the understated rattles and scrapes of Swiss-born, Berlin-based drummer Samuel Rohrer. MORE

February 19, 2008

MAWJA

Studio One
Al Maslakh Recordings MSLKH 07

MAWJA

“Live One”

Chloë 008

Various Artists

Beirut-Ystad

Olof Bright Editions OBCD 16-17

Tom Chant/Sharif Sehnaoui

Cloister

Al Maslakh Recordings MSLKH 05

Despite the political instability and sectarian violence that continues to disrupt the country, improbably enough the nascent Lebanese Free Music movement seems to progress from strength to strength.

Not only does Beirut’s annual festival of improvised music attract major Free Music stylists from overseas, but Lebanese improvisers are starting to travel and make an impression elsewhere. This situation is reflected in this set of impressive CDs. Just as importantly, it also confirms the universality of improvisation. Reductionist and electro-acoustic, the results heard from the locals are no more stereotypical Middle Eastern than others’ improvisations reflect Continental Europe or the United States. MORE

February 19, 2008

Various Artists

Beirut-Ystad
Olof Bright Editions OBCD 16-17

MAWJA

Studio One

Al Maslakh Recordings MSLKH 07

MAWJA

“Live One”

Chloë 008

Tom Chant/Sharif Sehnaoui

Cloister

Al Maslakh Recordings MSLKH 05

Despite the political instability and sectarian violence that continues to disrupt the country, improbably enough the nascent Lebanese Free Music movement seems to progress from strength to strength.

Not only does Beirut’s annual festival of improvised music attract major Free Music stylists from overseas, but Lebanese improvisers are starting to travel and make an impression elsewhere. This situation is reflected in this set of impressive CDs. Just as importantly, it also confirms the universality of improvisation. Reductionist and electro-acoustic, the results heard from the locals are no more stereotypical Middle Eastern than others’ improvisations reflect Continental Europe or the United States. MORE

February 19, 2008

MAWJA

“Live One”
Chloë 008

MAWJA

Studio One

Al Maslakh Recordings MSLKH 07

Various Artists

Beirut-Ystad

Olof Bright Editions OBCD 16-17

Tom Chant/Sharif Sehnaoui

Cloister

Al Maslakh Recordings MSLKH 05

Despite the political instability and sectarian violence that continues to disrupt the country, improbably enough the nascent Lebanese Free Music movement seems to progress from strength to strength.

Not only does Beirut’s annual festival of improvised music attract major Free Music stylists from overseas, but Lebanese improvisers are starting to travel and make an impression elsewhere. This situation is reflected in this set of impressive CDs. Just as importantly, it also confirms the universality of improvisation. Reductionist and electro-acoustic, the results heard from the locals are no more stereotypical Middle Eastern than others’ improvisations reflect Continental Europe or the United States. MORE