Still, the music fits and flows, the waves of township jive larger than ever.
Paul Shapiro: Shofarot Verses (Tzadik) Saxophonist, plays alto/soprano/tenor here, also shofar, the ram's horn on the cover drawfing the alto, part of Tzadik's "Radical Jewish Culture" series although it will mostly appear to jaded r&b fans, featured in the comic, "The Book of Shapiro: A Tale of Rhythm & Jews." Not sure how that's packaged, but aside from the leader, the stars here are Adam Rudolph (frame drums, udu drum, shakers, bell) and Marc Ribot (guitar) -- the latter's most scorching performance to date.
Farmers by Nature: Love and Ghosts (AUM Fidelity, 2CD) Piano trio, one I've tended to file under drummer Gerald Cleaver because his name comes first, but that list may just be alphabetical, followed as it is by Wiliam Parker (bass) and Craig Taborn (piano).
These days Taborn is the star, dancing all over the keyboard, but the rhythm section consistently raises his level.
[**] Waclaw Zimpel To Tu Orchestra: Nature Moves (Fortune) Clarinetist, b.
1983, one of the more recognizable names in Polish jazz due to his frequent collaborations with Vandermark's circle. The opener, "Cycles," stretches a repeating piano figure into something hipnotically sublime, and the title suite adds new wrinkles to the formula.
In conjunction with the opening, the Villa Terrace Decorative Arts Museum opens its 2015 weekly summer music series, Café Sopra Mare in the morning, featuring Jazz music by Smooth Visions Jazz Quartet.
(Actually, since we're counting, somewhat more than half.) The non-jazz list is here.
For A-list only: [*] indicates that I reviewed this on the basis of an advance, often a CDR copy (a good thing, I might add, for vinyl-only releases).
I wouldn't have ID'ed the fourth cut as Ornette Coleman because it sounds to me like what Charlie Parker should have sounded like if he was really as great as they say.
(But Coleman was my first alto sax crush, so I'm easily swayed on the subject.) Romus' other alto master is Arthur Blythe, who wrote one piece and is subject of another.
I wouldn't call this avant-garde, much less postbop, and certainly not fusion, but might not object to post-Velvets, if you know what I mean.