Reviews that mention Marco von Orelli

October 6, 2020

Marco von Orelli/Tommy Meier/Luca Sisera and Sheldon Suter

Lotus Crash
ezz-thetics 1002

Juan Vinuesa Jazz Quartet

Blue Shots from Chicago

NoBusiness Records CD 122

Adapting the expected reed, brass, bass and drums combo configuration to their own ends, the quartet of Madrid-based tenor saxophonist Juan Vinuesa and the cooperative Swiss quartet of Marco von Orell, Tommy Meier, Luca Sisera and Sheldon Suter come up with equally valid, but distinctive programs. Among the points of demarcation is that all eight tracks on Blue Shots from Chicago are the saxophonist’s composition and he’s accompanied by three Windy City players: cornetist Josh Berman, bassist Jason Roebke and drummer Mikel Patrick Avery. In contrast among Lotus Crash’s nine tunes are four by trumpeter von Orelli and three by tenor saxophonist/clarinettist Meier. Plus the Jazz Quartet was created after Vinuesa has spent several months in Chicago, while the Lotus Crash members have worked together in many local bands over the past few years. MORE

November 6, 2018

Big Bold Back Bone

In Search of the Emerging Species
Shhpuma SSH 032 CD

Okkyung Lee

Cheol-Kkot-Sae [Steel.Flower.Bird]

Tzadik TZ 4923

The Cluttertones


SnailBongBong SBB 005

Elliott Sharp’s Carbon

Transmigration at the Solar Max

Intakt CD 311

Pavillon Rouge

Solution n⸰5

LFDS Records LFDS 006

Something in the Air: Eclectic: Electronics stretches the definition of Innovative Music

By Ken Waxman

At least when it comes to exploratory music old definitions no longer apply. Only on the equivalent of a rigid Doug Ford-like populist disc will you find players insisting on one style, be it rock, noise, jazz-improv or so-called classical. Accomplished improvisers in contrast draw on many sources to create unique musical programs, with sophisticated electronics regularly and effortlessly added to the mix. MORE

February 21, 2016

Marco von Orelli 5

Alluring Prospect
hatOLOGY 726

Downsizing obviously isn’t an expletive for Basel-based trumpeter Marco von Orelli since he keeps shrinking his band. Starting as a nine-piece, the ensemble first recorded as a sextet, is a quintet on this disc and is now operating as a trio with bassist Kasper von Grüningen and drummer Samuel Dühsler, both of whom acquit themselves admirably here. But like the hoary aphorism that asks “how much is too much” the intercommunication exhibited here suggests that four may work as well as three and perhaps better than five. MORE

October 1, 2015

Festival Report

By Ken Waxman

Multi-media, theatricalism and electronics were the motifs that kept cropping up during the Météo Festival (August 25-29) in this Alsatian city known for its textile industry and unique German-French flair. There were also plenty of intense improvisations in its venues, confirming the continued strength of the 33-year-old festival.

Artistic mixing was most prominent during Météo’s opening concert in the Italianate 19th Century Théâtre de la Sinne as the French Surnatural Orchestra interacted with a screening of Italian director Dario D’Aregento’s 1975 slasher film Profondo Rosso. Unlike most music-with-cinema programs where live playing is subordinated to the visuals, this bloody over-the-top Hitchcock-Goddard-Fellini pastiche was frozen at various junctures for limber solos by a dancer, a speaker’s pseudo-pretentious film analysis, a scream from the stalls, cabaret style singing and a Second Line march through the audience. Still, no sonic moments stood out, and the exercise could be liked to someone decked out in full Carnaby Street fashion surmounting the outfit with a Viking helmet. MORE

February 17, 2011

Tommy Meier Root Down

The Master and the Rain
Intakt CD 181

Appropriation of voice has become a serious concern in the arts over the past few decades, with various groups charging that others – usually First World Caucasians – are stealing their history for their own purposes. Although this situation is more often expressed when it comes to visual arts and literature, so-called World music performers can be equally suspect. This introduces a problem that could affect saxophonist Tommy Meier’s Root Down ensemble. Made up in the main by Swiss players, the 14-piece band’s repertoire is either directly taken from, or is adaptations of, African material. MORE