Super Furry Animals front man Gruff Rhys is a quietly prolific talent. Every few years or so, there’ll be another album, complete with the kind of thought-through concept that gives lift to his literate and expressive story songs and colours them with context.
Bitch ‘n’ Monk is a duo of London singer and guitarist Heidi Heidelberg and Colombian flautist Mauricio Velasierra. They make work of uncompromising novelty - dense but exhilarating collages of soaring vocals, restless guitar and intricate, percussive flute, spiced with loops and effects. It sounds as though there are at last four of them, and although the pair’s commitment to their own sound is palpable, their idealism lives happily alongside much passion, humour and melody, which makes the listening experience more charm than offensive.
Ludic, ironic, kaleidoscopic, highly stylised, this follow-up to the Elliot Galvin Trio’s acclaimed 2014 debut, Dreamland, packs an exhilarating feast for the ears into its shortish 38-minute time frame. Like that greatest of musical magpies, Igor Stravinsky, who was able to creatively distort any style that appealed to him, from medieval music to the music of the Second Viennese School, Galvin similarly dips in at will to the endless resources of jazz, classical and pop music history to create a sound-world entirely his own.
At least half the audience for this live version of the short-form improv show, which was shown on Channel 4 between 1989 and 1998, couldn’t possibly have seen Whose Line Is It Anyway? when it was first broadcast, so one assumes they must have become fans via YouTube or rerun channels – testimony to the idea that good comedy is timeless and ageless.
It seems fitting that the propulsive playing of drummer Anton Eger is the first sound you hear on this latest studio recording by the Scandinavian/British jazz trio, Phronesis. While there’s plenty of warm-hearted lyricism and vibrant harmonic writing on the group’s sixth CD (their fourth for Edition Records), what’s really striking about Parallax is the absolute primacy of rhythm.
Masterly improvising, outstanding compositions, a complete understanding between the musicians. On every count this was an exceptional set, as emotionally engaging as it was lovingly delivered.
Described by Courtney Pine as "the most exciting jazz band to come out of the UK" and hailed in the press as the new young lions, Empirical broke cover in 2007, topping album of the year charts with their self-titled debut and picking up wins at the prestigious EBU/European Jazz Competition and the Peter Whittingham Jazz Award all within a few months.
Maria Schneider is one of the luminaries of contemporary jazz.
Playing that exudes a real joie de vivre, compositions that unfailingly get the synapses firing, fearless soloing, and a textural density and rhythmic punch that deliver a powerful emotional jolt. It's rare to hear music-making of this calibre, which is why this final piece of the magisterial Loose Tubes triptych – following Dancing on Frith Street (2010) and Säd Afrika (2012) from the same valedictory residency at Ronnie Scott's in September 1990 – is to be given the warmest of welcomes.
Freedom Festival, a new event curated by vibes player and electronicist Orphy Robinson and vocalist Cleveland Watkiss, is all about bringing improvised music out of the shadows and into the limelight. All the same, it felt strange going to the Vortex in broad daylight. Gigs here don’t usually get started much before 9 pm (I’d always assumed that improvising musicians only came out at night), and darkness seems to lend itself to the free jazz atmosphere.