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01 Mar

[ March the 4th, 2022 release via Firehouse 12 Records: Tomas Fujiwara’s Triple Double – March ]

By grzech In All That Jazz /   No Comments

release date: 04.03.2022 via Firehouse 12 Records

“Deliberately seeing double in the cause of exploratory jazz, Fujiwara brings together instrumentalists primed to rub each other in all the right and creatively wrong ways.“ – The New Yorker

“[The six musicians’] collective talent and Fujiwara’s innovative leadership make for a tonic of unpredictability… A triple scoop of great music.”  – Britt Robson, JazzTimes

“March is brilliantly mad, joyously improvisational, cathartically cleansing. The perfect companion to two years of isolation, this music frees your spirits and clearly makes the musicians soar.…It all goes happy-hour punch-drunk in the dual-drummer assault of ‘Wave Shake Angle Bounce,” with ominous tri-tones backing gleeful guitar and trumpet as Fujiwara and Cleaver bash and bleed.” – Ken Micallef, JazzTimes

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Cover_Halvorson_artlessly-falling
16 Oct

[ October 30,2020 release on Firehouse 12 Records: Mary Halvorson – Artlessly Falling ]

By grzech In All That Jazz /   No Comments

release date: 30.10.2020 via Firehouse 12 Records

“Not only the most distinctive guitarist of her generation – her barbed, warped sound also has few rivals in any other.” – Michael J. West, Washington Post


“When all her influences click into place, the result is like little else, in any genre.” – Seth Colter Walls, Pitchfork


“One of the most distinctive voices in jazz … possessing a slippery tone.” – Chris Barton, LA Times

“Ever since [Halvorson] began recording in the mid-2000s, she’s projected a strikingly personal voice on the electric guitar; you only need to hear a few seconds of her fastidious fingering and extravagant pitch bends to know it’s her….her compositional style, with its intricate melodies and sudden tempo changes, is as distinctive as her playing.” – Bill Meyer, Chicago Reader

“Maybe it’s the weathered grace of Wyatt’s vocals or the astringent lyricism of O’Farrill’s trumpet, but the writing here conveys the quirky charm of Carla Bley’s collaborations with Paul Haines.  Except Bley’s keyboards were never as otherworldly as Halvorson‘s guitar.“ – J.D. Considine, DownBeat

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