Reviews that mention Corey Mwamba

July 11, 2020

Martin Archer

Anthropology Band
Discus 90 CD

Webber/Morris Big Band

Both Are True

Greenleaf Music GRE CD 1075

Vladimir Tarasov & Krugly Band Orchestra

Sound Tapestries

SoLyd Records SLR 0440

Fire! Orchestra

Krysztof Penderecki Actions

Rune Grammofon RCD 2212

Gard Nilssen Supersonic Orchestra

If You Listen Carefully the Music Is Yours

ODIN CD 9572

Something in the air Novel Large Ensemble Strategies are expressed by Bands All over the World

January 3, 2020

Corey Mwamba


Yimba Rudo

Yimba Rudo

Barking Hoop BKH-01

From its earliest serious use in Jazz, starting in the 1930s, the vibraphone has had two identities. Some see it as primarily a percussion instrument, cousin to the drums, and emphasize its rhythmic qualities. Others, taken up by its tone and agility, especially when playing with more than two mallets, accentuate its melodic role, treating it almost as a metallic piano. Within the lessened formality of improvised music, especially during the past three decades, this hard-and-fast division has gradually melted away. These striking (sic) dates, one British and one American, are indications of this as well as the evolution of vibraphone playing. MORE

November 28, 2013

Martin Archer

Blue Meat, Black Diesel & Engine Room Favourites
Discus 43 CD

Blending and contrasting vamping horns, violent percussion and spiccato strings, this CD mark a welcome return to Jazz by Sheffield-based reedist Martin Archer. Now mostly involved with electronic-oriented sound design and what he calls “creative Rock”, his dormant talents on sopranino, alto and baritone saxophones and bass clarinet are given full reign here, as part of a 12-piece acoustic band.

Besides a brief introduction the session is divided into the 25 minute “Of The Above”, composed by Archer and percussionist Peter Fairclough and the eight-part title track penned by the saxophonist. Although Archer links the performance here to pioneering Association for the Advancement of Creative Musicians (ACCM) sessions he does himself a disservice. Few if any AACM compositions are as concerned with the spatial pulsations arising from four percussionists – five if you count Corey Mwamba’s vibraphone – featured on both major tracks. More crucially the tunes’ frequent turn-arounds and transitions are based on chordal dissonance rather than other motifs. In other words reed and/or percussion narratives are usually re-directed by the angled piano pulsations of Laura Cole or jittery counter-melodies arising from Graham Clark’s violin. MORE