Sex Mob: Cinema, Circus & Spaghetti: Sex Mob Plays Fellini: The Music of Nino Rota (Royal Potato Family)
Call me crazy, but I feel a connection between Rota's themes for Fellini's films and the melodic styles of Albert Ayler and Ornette Coleman. Granted, what each did once past their respective themes became wildly different, with Rota never abandoning harmony, Ornette twisting it in new directions, and Ayler abandoning it altogether, but before that happens, their themes share an effulgent earthiness and overflowing humanity. And who better to bring out the jazz side of that earthy humanity than the great recontextualizer Steve Bernstein and his longstanding quartet with Briggan Krauss (alto and baritone saxes), Tony Scherr (electric bass), and Kenny Wollesen (drums, gongs, log drum, waterphone, vibraphone).
Bernstein's slide trumpet in particular has the microtonal relationship with pitch that Ayler and Coleman each cherished to varying degrees, including a wide...
Call me crazy, but I feel a connection between Rota's themes for Fellini's films and the melodic styles of Albert Ayler and Ornette Coleman. Granted, what each did once past their respective themes became wildly different, with Rota never abandoning harmony, Ornette twisting it in new directions, and Ayler abandoning it altogether, but before that happens, their themes share an effulgent earthiness and overflowing humanity. And who better to bring out the jazz side of that earthy humanity than the great recontextualizer Steve Bernstein and his longstanding quartet with Briggan Krauss (alto and baritone saxes), Tony Scherr (electric bass), and Kenny Wollesen (drums, gongs, log drum, waterphone, vibraphone).
Bernstein's slide trumpet in particular has the microtonal relationship with pitch that Ayler and Coleman each cherished to varying degrees, including a wide...
- 7/2/2013
- by SteveHoltje
- www.culturecatch.com
Jazz pianist Borah Bergman died the same day as David Ware, but as he was a more obscure figure known mostly to hardcore devotees of the avant-garde, the news traveled more slowly. Famous or not, his talents and imagination were prodigious, as his peers knew. John Zorn called him "one of the greatest pianists of our time," and Peter Brötzmann declared, "Borah Bergman was my favorite pianist. One of the few pianists who can work with me at all." Chris Kelsey, both a saxophonist and a critic, proclaimed him "perhaps the most technically accomplished pianist in jazz -- and if he's not at the top, then he's certainly on a short list of two."
One of the things that us critics do, of course, is make comparisons, but there were no valid comparisons for this unique player, who created a stunningly distinctive technique unlike that of any other jazz pianist by working,...
One of the things that us critics do, of course, is make comparisons, but there were no valid comparisons for this unique player, who created a stunningly distinctive technique unlike that of any other jazz pianist by working,...
- 10/23/2012
- by SteveHoltje
- www.culturecatch.com
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