Reviews that mention Antonio Borghini

June 1, 2016

Festival Report

Doek ABC
By Ken Waxman

With many parts of the Netherlands reclaimed from the sea over the centuries, the Dutch have long been adroit recycling, reusing and repurposing. So it’s no surprise that except for the soft-seated Bimhuis, with its magnificent waterfront view, most venues for this year’s Doek ABC Improvisation Festival in Amsterdam, April 29 to May 4, had initially been built as schools, warehouses and even a dungeon. These locations were particularly pertinent for this year’s fest which united local improvisers (A) with visitors from Berlin (B) and Chicago (C). The festival also demonstrated how different musicians repurpose the jazz and improvised traditions. MORE

March 12, 2016

Die Hochstapler

Plays the music of Alvin R. Buckley
Umlaut ub007

Christian Lillinger

Grund

Pirouet PIT 3086 Théo Ceccaldi’s Quartet

Petit Moutarde

ONJazz JP-001

Ziporyn/Zimpel/Zemler/Riley

Green Light

MultiKulti MPTO 12

Dikeman/Parker/Drake

Live at La Resistenza

El Negocito Records eNR041

Something in the Air: Young Blood Still Pumps in Jazz

By Ken Waxman

Child prodigies really don’t exist in improvised music. Occasionally there may be some youngster known for jazz playing. But unlike other musics which depend on a performer having a cute image or being able to copy what’s on the score paper, improvising demands full exposure of an inner self. Lacking maturity the majority of these tyros soon disappear. That doesn’t mean that there aren’t young improvising musicians. But to create notable works, like the skills of exceptional actors or visual artists, true musical talent is almost always refined during the player’s twenties or thirties. MORE

July 21, 2015

Wadada Leo Smith & Eco d’Alberi

June 6th 2013
Novara Jazz Series 001

Wadada Leo Smith/Jamie Saft/Joe Morris/Balàzs Pàndi

Red Hill

Rare Noise RNR 044

Resilient is one word that can easily be applied to trumpet-composer Wadada Leo Smith, 73. About a half century after he was one of the original Association for the Advancement of Creative Musicians (ACCM) thinkers who helped redefine improvised music, he’s still as busy as ever with new projects and recordings. Not only that, but like any forward-thinking experimenter, he’s unafraid to try out new concepts with new casts of characters. Both these sessions for instance find him working with ensembles – one American, one Italian – consisting of players at least three decades younger than him. With no incompatibility sensed, each interaction focuses on a unique aspect of Smith’s variant of creative music. MORE

March 3, 2015

Der Lang Schatten

Der Lang Schatten
Lost Opportunities 001

The International Nothing

The Dark Side of Success

Ftarri Records 218

Personification of duality, Dusseldorf-born clarinetist Michael Thieke has since the millennium been involved in two broad musical currents as he similarly divide his time between Berlin and Rome. Often in the forefront of abstract explorations of reed timbres with the likes of ppooll manipulator Christof Kurzmann and others, Thieke also spends part of his time in less atonal pursuits, such as playing saxes in the Charles Mingus-saluting Dok Wallach band. MORE

October 16, 2014

Sequoia

Rotations
Evil Rabbit Records ERR21

Kontrasbassduo Studer-Frey

Zwirn: Live in München

Creative Sources CS 239 CD

Nils Davidsen

Noget at glæde sig til

ILK 217

Benjamin Duboc

St. James Infirmary

Improvising Beings ib22

Adam Pultz Maybe

Gullet

Barefoot Records BFREC 032 CD

SITA: Basses Loaded For Compounded Combinations and Solo Showcases

By Ken Waxman

As serious music has become both more ardent and more accommodating over the past few decades, so has the definition of what constitutes a musical group or which instrument is appropriate for a solo session. One of the instruments that benefitted the most from this liberal attitude is the double bass. Freed from its singular function as a time-keeper in jazz or to suggest rumbling menace in so-called classical music, it has become the object for new experiments. MORE

August 1, 2014

Festival Report

Jazzdor-Strasbourg-Berlin 2014
By Ken Waxman

The KulturBrauerei’s music space Kesselhaus in East Berlin was a fitting site for the eighth annual Jazzdor-Strasbourg-Berlin (JSB) festival June 3-6. With jazz and improvised music’s universality now a given, a festival presenting mostly French jazz taking place in what had been one of Berlin’s oldest breweries, now repurposed from industrial to artistic use, doesn’t seem that much of a stretch.

Overall its all-inclusive musical theme was confirmed by the programming of JSB’s artistic director Philippe Ochem and his team, which already host Strasbourg’s annual Jazzdor festival. Over four nights, JSB presented musician from different parts of Germany, Belgium and the US plus proudly delineated Basque and Corsican players, all of whom worked with improvisers from France’s major musical centres. MORE

April 2, 2014

Die Hochstapler

The Braxtornette Project
Umlaut Records ub004

Douglas/Doxas/Swallow/Doxas

Riverside

Greenleaf Music GLM 1036

Flex Bent Braam

Lucebert

BBBCD 16

Tom Rainey

Obbligato

Intakt Records CD 227

The Whammies

Play the Music of Steve Lacy Vol. 2

Driff Records CD 1303

Something In The Air: A New Take on Standards – Jazz and Otherwise

By Ken Waxman

Since jazz’s beginnings, the measure of a musician’s talent has not only been how well the person improvises, but also how he or she interprets standards. In the 21st century a standard song has evolved past its Tin Pan Alley origins, plus distinctive purely jazz compositions have entered the canon. But while more conservative players treat standards as immutable, the CDs here are noteworthy because their creators distinctively re-imagine standards. MORE

January 8, 2014

Festival Report

Festival Jazzdor Strasbourg
By Ken Waxman

A mercantile and European Union government centre, Strasbourg is a sophisticated French city with a large university, massive fortifications, picturesque canals and a renowned cathedral. Although La Marseillaise was composed and first sung in Strasbourg it’s also part of Alsace which was ceded to Germany from 1871-1918 and 1940-1944. Overcoming this historical enmity, for the past 11 years Festival Jazzdor has included a series of concerts in the nearby German city of Offenburg.

This year’s festival (November 8 to 22) was no different. One of its highlights was Günter Baby Sommer’s Bopp-Art Percussions in Offenburg’s Reithalle in Kulturforum. Featuring the veteran drummer’s quartet of saxophonist Frank-Paul Schubert, trombonist Gerhard Gschlößle and bassist Antonio Borghini, it matched their fiery blistering improvisations with a three-man Taiko ensemble plus Katharina Hilpert’s ethic and traditional flutes which bridged the two solitudes. Although the white blouses worn by the percussionists made them look like chefs, their massive drums and gongs resonations merely spiced the program with the Sommer four which provided the main meal. The several courses included traditional Saxon marches, slinky set pieces and experimental excursions where the horns injected gospel-like and Dixieland inflections emotions into frenetic line deconstruction. Prominent were tunes such as Like Don” and “Art Goes Japan”, which honored Sommer’s heroes Don Cherry and Art Blakey. The former featured a Schubert reimaging of a Cherry head, while the dynamism of the latter was maintained as the bearded, diminutive drummer put an individualist stamp on many of Blakey’s distinctive runs. MORE

February 14, 2011

Braida/Marraffa/Borhini/Spera

Eco D'Alberi
Booklet notes for Porter Records PRCD 4054

Fittingly the concert by the first all-Italian Jazz group to play New York’s Vision Festival, captured on the first two tracks on this exemplary CD, featured a group named after a short story by Henry Dumas. He was a vital 1960s Black Arts movement writer and friend of Sun Ra. The name chosen by the four musicians reflects their commitment to the ongoing African American Jazz tradition as well as their capability in adapting it their own way.

Agreeing that Dumas’ magic realist appropriation of folk tales strikes a chord with Italians, the band’s Rome-based drummer Fabrizio Spera notes that his appreciation of Dumas was sparked by an the early 1980s concert dedicated to Dumas by reedist Joseph Jarman, a frequent Vision Fest participant. MORE

June 22, 2008

Cantuarium

Gregorianum
Ozmotic Records 001

Mimmo/Serrapiglio/Cusa

A Watched Pot (Never Boils)

Amirani Records AMR006

Mrafi

La Terra di Giubba

Rai Trade RTPJ 003

With Italy’s history as a unified entity only a little more than a century old, following many millennia of absorbing influences form other countries, it’s not surprising that Italian improvising musicians are unafraid to adopt a variety of musical stimuli for their own ends. These notable recent sessions provide perfect examples of this. MORE

June 22, 2008

Mrafi

La Terra di Giubba
Rai Trade RTPJ 003

Cantuarium

Gregorianum

Ozmotic Records 001

Mimmo/Serrapiglio/Cusa

A Watched Pot (Never Boils)

Amirani Records AMR006

With Italy’s history as a unified entity only a little more than a century old, following many millennia of absorbing influences form other countries, it’s not surprising that Italian improvising musicians are unafraid to adopt a variety of musical stimuli for their own ends. These notable recent sessions provide perfect examples of this. MORE

June 22, 2008

Mimmo/Serrapiglio/Cusa

A Watched Pot (Never Boils)
Amirani Records AMR006

Cantuarium

Gregorianum

Ozmotic Records 001

Mrafi

La Terra di Giubba

Rai Trade RTPJ 003

With Italy’s history as a unified entity only a little more than a century old, following many millennia of absorbing influences form other countries, it’s not surprising that Italian improvising musicians are unafraid to adopt a variety of musical stimuli for their own ends. These notable recent sessions provide perfect examples of this. MORE