Thursday, March 4, 2021

Wadada Leo Smith / Jamie Saft / Joe Morris / Balazs Pandi - Red Hill (March 2021 Catalytic Sound)

Fueled by the urgent high note blasts and expressive muted trumpet work of avant garde icon Wadada Leo Smith and underscored by and uncanny group-think of RareNoise stalwarts Jamie Saft (Metallic Taste of Blood, Slobber Pup, Plymouth, The New Standard) on keyboards, Joe Morris (Plymouth, Slobber Pup, One) on upright bass and Balazs Pandi (Obake, Metallic Taste of Blood, Slobber Pup, One) on drums, Red Hill is a kind of clarion call for the new avant garde. A dynamic, highly intuitive offering, Red Hill is full of tensions and releases and characterized by dramatic use of space juxtaposed with turbulent crescendos by the provocative collective. That this music really breathes and flows organic is due in no small part to the incredibly sensitive, remarkably flexible playing of Hungarian drummer Balazs, who covers a very wide spectrum on this recording. Pandi's sensitive, highly interactive brushwork and coloristic cymbals underscore Smith's lyrical muted trumpet playing on the sparse opener, Gneiss. And yet, when that piece builds to a turbulent crescendo near the end, the drummer is right there to fuel the frantic proceedings. With mallets, Pandi engages in a conversational duet with Smith at the outset to Janus Face, a piece that evolves from slow, open rubato statements to dense explosions of tumultuous free jazz sparked by Saft's Cecil-esque attack on the piano.

Saft switches to Fender Rhodes electric piano to attain another color on Agpaitic, a conversational romp that features some aggressive bowing on the bass by Morris. And Pandi supplies the rolling free pulse beneath Morris' trance-like bass ostinato and Smith's edgy trumpet excursions on Tragic Wisdom, which also has intrepid improvisor Saft plucking strings inside his piano. Silence is the watchword on Debts of Honor, a thoughtful improvisation which evolves gradually over the course of nine minutes from zen-like tranquility to intense crescendo paced by Pandi's relentless drumming and Saft's spiky piano comping and is highlighted by some of Smith's most powerful blowing of the session. The trumpeter begins the closing number, Arfvedsonite, with a high-note blast before Morris enters with some insistent arco work to create an edgy texture. Pandi's rolling pulse with mallets and Morris' resounding bass tones quickly establish a solid launching pad for Wadada's stratospheric improvisations on trumpet, Bringing this spell-binding collection to a ferocious conclusion.


Janus Face


Tragic Wisdom

Debts of Honor


Wadada Leo Smith : Trumpet

Jamie Saft : Piano, Fender Rhodes

Joe Morris : Upright Bass

Balazs Pandi : Drums

Elisabeth Harnik & Michael Zerang - Dream Disobedience (March 2021 Catalytic Sound)

"Austrian pianist Elisabeth Harnik seems to thrive in duo settings. Michael Zerang, a Chicago-based drummer, is with her on Dream Disobedience, a live recording made at Ljubljana, Slovenia in 2019. The conversation, unabated for 35 minutes, is rather subdued, Harnik usually initiating each new topic, alternating traditional approaches with more unusual in-the-box techniques while Zerang eschews straight timekeeping for a more reactive role, adding the musical equivalents of ‘Hmm!’ or ‘Uh huh!’ and other encouragements to keep things flowing. The episodic narrative progresses through short lulls followed by bursts of energy, as if small squalls were blowing through, a grand tempest arriving near the end, one final cloudburst before irenic frog croaks and bird songs return, the pond at peace." - Tom Greenland and The New York City Jazz Record (March 2021)

1. Dream Disobedience (suite)

Elisabeth Harnik – piano
Michael Zerang – drums

Recorded live in concert by Iztok Zupan at Španski Borci, Ljubljana, Slovenia on March 23rd 2019

Ken Vandermark / István Grencsó / Róbert Benkő - Burning River Melting Sea (Égő Folyó Olvadó Tenger) 2021 Catalytic Sound

As I write these words in Chicago during May of 2020 and look back on the week of activity in January that led to these recordings with István Grencsó and Róbert Benkő, it’s hard for me to comprehend that the tour scheduled at that time would most likely be the last series of concerts that I play in 2020. Without warning the world changed for everyone between those months, and it’s very hard to predict how things will look in the future, for music and for everything else.

My work with István began exactly two years earlier, when he invited me to collaborate with his ensemble, the Grencsó Collective. We both composed music for the project, performed in Hungary, and recorded the album Do Not Slam The Door for BMC Records. I learned a lot about improvised music in Hungary during that week, particularly the history connected to György Szabados. It was a great starting point, and I knew that there would be more work to do with István in the future. In March of 2019 my group Marker did a night of collaborative performances with musicians in Budapest, and István was an important part of that evening.

Then an invitation came from Mario Steidl, director of the Saalfelden Jazz Festival, for the Grencsó Collective to come with me as a guest to participate on the 3 Tage Jazz 2020, which would be held in the middle of January. It was clear to all of us that we should take advantage of this opportunity to arrange some additional shows, and Mario graciously agreed to enable this. In addition to that concert, and with the help of Benedek Kruchió, who has been central to the success of all the plans that have involved István and me, the Collective also played again in Hungary, at the BMC/Opus Jazz Club in Budapest and at the Grand Café in Szeged. A recording session and duo concert (which took place at Meseház, in Békéscsaba) were also scheduled. István and I composed new music for this project and rehearsed together in the gaps between the other performances.

The SuperSize Studio was located on the outskirts of Budapest, in Törökbálint, and both it and the sound engineers were excellent. We recorded all the new duo pieces and a series of trio improvisations that included Róbert Benkő on double bass; those were performed in front of an audience brought in by the label, Hunnia Records. Though it was a pleasure to return to the material that the Collective performed, working on the new compositions was really exhilarating and displayed how far the level of communication between István and me had come. Though our collaborations had been occasional over the two years since first meeting, the creative process we’ve shared has kept accelerating.

The evidence of that progress is documented on this album. Both the compositions and the improvisations, whether duo or trio, exhibit a depth of creative understanding that was impossible on our initial encounter. This communication transcended the music, and it transcended language as well. It’s in all we’ve shared as István and I view the world and encounter music together, laughing in the car as we drove from Saalfelden to Budapest with his band, across the Hungarian countryside, sitting in the bar outside of Meseház, eating lunch in his home with Benedek and Denise (István’s wife). This shared enthusiasm for music, art, and life is projected into plans we’ve made to put a quartet project together that would expand this new duo material. Originally the idea was to meet in the autumn of 2020. As I sit here now in Chicago, considering the landscape for concerts and touring as it may exist several months in the future, I am doubtful. But I do know this - István and I will get together again, we will bring this new ensemble on the road, and the music we make will be better than ever. -Ken Vandermark, Chicago, May 12, 2020

1. Extracted color (Megszűrt szín) 03:12
2. How good it would be … (De jó lenne …) 03:55
3. A question of rate (Sebesség kérdése) 02:25
4. Letters in any order (Betűk bármilyen sorrendben) 01:05
5. Rise lonesome (Magányosan kelni) 05:14
6. Engarian-Hunglish 02:33
7. Woven paper (Szőtt papír) 03:28
8. Like a jaguar loves its spots (Ahogyan a jaguár a foltjait szereti) 05:20
9. Object 2020 03:49
10. 2128 ½ South Indiana Avenue 03:24
11. Ode to women (Ajánlás asszonyainknak) 04:35
12. Anagram or acronym (Anagramma vagy akroníma) 02:02
13. At a table of togetherness (Az összetartozás asztalánál) 03:54
14. Triple braid (Hármas fonás) 06:04

Róbert Benkő: Double Bass
István Grencsó: Tenor & alto saxophones, Bb & bass clarinet, flute – Left side
Ken Vandermark: Tenor saxophone, Bb clarinet – Right side

Tracks 1, 5, 8, 9, 12 & 14 by Róbert Benkő, István Grencsó (BIEM – Artisjus) & Ken Vandermark (Twenty First Mobile Music / ASCAP – Cien Fuegos)
Track 4 by István Grencsó (BIEM – Artisjus) & Ken Vandermark (Twenty First Mobile Music / ASCAP – Cien Fuegos) Tracks 2, 6 & 13 by István Grencsó (BIEM – Artisjus)
Tracks 3, 7 & 10 by Ken Vandermark (Twenty First Mobile Music / ASCAP – Cien Fuegos)
Track 11 by György Szabados (BIEM – Artisjus)

Recorded by Andás Makay at SuperSize Recording, Törökbálint, on January 19, 2020. Mixed and mastered by Gábor Halász.
Recorded audio formats: Native DSD 256, Piramix, Merging Hapi.

Calle Neumann / Ketil Gutvik / Ingebrigt Håker Flaten / Paal Nilssen-Love - New Dance (Catalytic Sound 2021)

"In 2019 PNL Records released “Events 1998-1999” - a retrospective box-set of the short-lived but eventually legendary The Quintet from the late 90s. That box-set documented the meeting of two generation of Norwegian improvised free music – the older generation Calle Neumann and Bjørnar Andresen engaging with the new emerging talents of the time - Paal Nilssen-Love, Ketil Gutvik and Eivind Opsvik. Since that time Andresen had passed away, but for the release party of the box-set Neumann once again got together with Gutvik and Nilssen-Love. 

No longer the new blood, it was now a completely different meeting of musical minds, built on experience that didn’t exist 20 years ago. But it was also clearly a reunion of kindred spirits, people that share something special catching up through music. Of course this could not just be a one-off to promote a release, this had to become something more. And one year later the new line-up, now with Ingebrigt Håker Flaten on double bass (you don’t need two bass-players with Ingebrigt in the band), making the original quintet a quartet.

The self-titled debut album documents their live debut at Victoria Jazz Club in Oslo, recorded in the midst of the covid-19 pandemic in July 2020. The band recorded before the gig with the intent of a studio album, but the gig itself was such a special event, that it became clear that the album needed to document that performance in full.

Listening to the recording the identity of the musicians is clearly defined, but the music is full of surprises – going from extended full-on blasts to passages of subtle beauty, all delivered with a sense of adventure and humour that only musicians who are completely at ease with each other can deliver. New Dance is a new band for a new decade.

It’s also worth noticing that this is Neumann’s first new recording in more than a decade, which is cause for celebration in itself." - PNL

1. Å så et Frø 11:02

2. New Dance 30:53

3. Det er Kjærlighet 11:24

4. Dett var Dett 09:45

All music by Neumann, Gutvik, Håker Flaten, Nilssen-Love (TONO)

Carl Magnus Neumann - alto saxophone

Ketil Gutvik - acoustic and electric guitars

Ingebrigt Håker Flaten - double bass

Paal Nilssen-Love - drums & percussion

Live in concert at Victoria Nasjonal Jazzscene, Oslo, Norway, July 9th 2020

Live sound and recording by Louise Lavoll

Pre-mix by Jens Borge at Hjelp vi er i Studio, Stavanger, Norway

Final mix and mastering by Lasse Marhaug

Produced by Paal Nilssen-Love

Lol Coxhill / Joe McPhee / Chris Corsano / Evan Parker - Tree Dancing (2021 Catalytic Sound)

"This recording from the earlier years of Cafe Oto documents the impossible pairing of four contemporary giants. Its one of those miraculous one off groupings that reminds us why the venue opened in the first place.'

"The magic of the first minutes - an alto solo by Joe McPhee of true purity - soft-spoken, masterful and accomplished - brought back to mind the blissful Coleman/Haden duet last year at the Royal Festival Hall. 'Ornette gave me freedom to move in a certain way,' said McPhee. He searched hesitantly and carefully for his words, all the more surprising from such an articulate musical (or, as he might say 'muse-ical') practitioner and campaigner. Coleman's 80th birthday coincided with McPhee's stint at Cafe Oto.

McPhee and his co-musicians delivered an intense performance which was both creative and restrained. With Evan Parker 's tenor in tow - a collaboration going back to the late 70s - and Lol Coxhill, sitting with head bowed intently, a soprano master - it could have gone anywhere, yet they worked off each other, often in the higher registers, building up almost bird-call like interactions and trills. Earlier, Chris Corsano's drumming presented a dense bedrock for McPhee to play against, and his solo spell was a crisp exercise in sonic curiosity.

Recorded 10th March 2010, this is also a document of the only time Lol Coxhill and Joe Mcphee shared the stage. The recording is a little rough, but hey, so was your birth!"-Otoroku 

Lol Coxhill: soprano saxophone

Joe McPhee: saxophones

Chris Corsano: drums, percussion

Evan Parker: saxophones

Matt Clark Three - One From Brooklyn (April 2, 2021)

1. Opening Gambit
2. Two Hours This Side
3. Exit Kennedy
4. Two Hours That Side
5. Hey Queens
6. Melancholia
7. Last Lost

Matt Clark - guitar, bass guitar, samples
Mark Wilson - double bass (tracks 2,4 and 6)
Darren Beckett - drums (tracks 1-4, 6)

All compositions/arrangements by Matt Clark

Idit Shner - Live At The Jazz Station (2021 OA2 Records)

There are nights when stars align and there are nights when, improbably, they align twice. Such was the case when saxophonist Idit Shner brought along some of Eugene's finest musicians to record a live album at the Jazz station in June, 2019.

My earliest memory of this quartet playing together was for a sold-out performance celebrating Legendary altoist of Ellington band fame, Johnny Hodges. Over the next several years the group made up of Shner, pianist/organist Torry Newhart, bassist Garrett Baxter and drummer Ken Mastrogiovanni would regularly play together delivering standing room only hard swinging, high energy performances. This record is no exception.

There is a level of musicianship among these players that reaches well beyond the band’s obvious technical mastery of their craft. Rather it is the risk taking, the willingness and absolute openness of each performer to listen and respond honestly at every moment with innate sensitivity and a thoughtfulness that shines through on every track.

The result is an album that truly captures the sheer joy and exuberance felt and heard each night, even in its more serious moments. But don't take it from me, let the record speak for itself and make up your own mind. I promise you it won't disappoint. - Ben LaTorraca 
1 Yesterdays 8:42
2 Shake It till You Hear It Sizzle 7:33
3 Pascal's Ballad 6:00
4 Mandala 2:13
5 Hippo's Walk 7:36
6 Samba in Two 6:33
7 Present 7:28
8 Artificial Flavors 5:35

Idit Shner - alto saxophone
Torrey Newhart - piano/organ
Garrett Baxter - bass
Ken Mastrogiovanni - drums

Amit Friedman - Unconditional Love (2021 Origin Records)

Saxophonist and composer Amit Friedman is a guiding light in the Israeli jazz scene. His inspiringly lyrical compositions are arranged with his group of master musicians in mind and are rooted solidly in the jazz tradition, along with rich influences of the Middle East interwoven throughout. In the liner notes to "Unconditional Love," Amit recounts the story of his late father taking him, as a young teen, to New York and a night at the Blue Note. Implied is a great sense of gratitude for all of those influencing his life, and with the album's dedication to his father, offers the inspiration behind this collection of performances. Between the fiery "Home At Last," the subtle Bossa, "Alma," with vocals and lyrics by Brazilian vocalist Joca Perpignan, "Rill-Rool," the sweeping duo with pianist Tom Oren, the hard-swinging "Blues for Jackito," or the one cover, the melodic "Junk" by Paul McCartney, Friedman displays a deep connection to 'the moment,' his audience, and those who inspire him. "...Friedman's "Sunrise" is one of those rare albums that I want to blast from the rooftops, convinced that if the whole damn world could just hear it, the planet would be a much happier place." - DAVE SUMNER, BIRD IS THE WORM

1 Home at Last 8:13
2 Mal-Mal 4:51
3 Name Droppin' 7:26
4 Unconditional Love 6:43
5 Rill-Rool 5:23
6 Blues For Jackito 5:21
7 Alma 2:56
8 Sunset 6:28
9 Stride by Stride 3:34
10 Junk 3:33

All music by Amit Friedman, except (10) Paul McCartney
Lyrics by: (7) Joca Perpignan, (9) Stavit Allweis

Amit Friedman - Tenor & Soprano Sax
Tom Oren - Piano
Gilad Abro - Bass
Yonatan Rosen - Drums
Amos Hoffman - Oud (8,9)
Rony Iwryn - Percussion (7,8,9)
Doron Talmon - Vocal (9)
Joca Perpignan- Vocal (7)

Ben Patterson - Push The Limits (2021 Origin Records)

Trombonist Ben Patterson's fiery technique and expansive compositional vision combine for a thrilling quintet session of 10 wide-ranging originals. From the opening title tune, a master-class in form & fire with tight ensemble passages and soaring solos, to the straight-ahead, Messengers-esque "Suits Me Fine," Patterson unveils thoroughly compelling vehicles for his Washington, DC-based group. All inspired soloists and master musicians, Patterson features guitarist Shawn Purcell, pianist Chris Ziemba, Paul Henry on bass and drummer Todd Harrison.

1. Push The Limits 10:12
2. Alternate Reality 8:16
3. Easter Waltz 6:10
4. Fear Is The Mind-Killer 7:22
5. Hope 6:16
6. Suits Me Fine 6:48
7. Almost There 9:30
8. Alone Time 6:05
9. Road Trip 6:14
10. Scoish 7:07

All songs by Ben Patterson (Pro Jazz Charts/ASCAP)

Ben Patterson - trombone
Shawn Purcell - Guitar
Chris Ziemba - Piano, Fender Rhodes, Keyboards
Paul Henry - Bass
Todd Harrison - Drums, Percussion
Dani Cortaza - Nylon String Guitar (9)

John Stowell & Dan Dean - Rain Painting (2021 Origin Records)

Master guitarist and improvisor, John Stowell, has spent the last five decades touring the world, most often immersed in the universal jazz repertoire improvising with artists from wherever he's visiting. Through his recordings with "Scenes," and his quartet with SF Bay Area saxophonist Michael Zilber over the last 20 years, Stowell has had the chance to perform and focus on his own compositions more than ever before. It was through the mastering of those recordings that engineer, bassist, vocalist, producer Dan Dean discovered the nuances of Stowell's writing. The idea of collaboration came when Stowell heard Dean's recent classical voice recording, "Songs Without Words," where he layered multiple tracks of himself in what writer Raul da Gama called " of the highest order, which plumbs the depths of all of the emotions from wonderful joys to abject lamentations." Taking 10 of Stowell's compositions, Dean & Stowell layered voices, bass, and guitars over the course of a year, discovering unique avenues into the music with the end result feeling spontaneous, joyous and in the moment. "Dan Dean will redefine what you think is possible to achieve with the human voice. Prepare to be astonished." - Melinda Bargreen, Author & Music Critic

1. Welcome to Nice 4:08
2. Nanti Glo 5:08
3. Rain Painting 5:33
4. Pretty Boy Floyd 4:32
5. Alora Andiamo! 3:53
6. Springfield Sonata 4:30
7. Tapioca Time 4:43
8. Always Sometimes 5:34
9. Schiffletting 5:43
10. The Mandy Walk 4:42

All compositions by John Stowell/BMI

John Stowell - Acoustic & Electric Guitar, Fretless Electric Guitar
Dan Dean - Vocals, Fretless Acoustic Bass Guitar, Electric & Fretless, Electric Basses, Percussion, Drum Programming

Produced by Dan Dean & John Stowell
Recorded, mixed and mastered by Dan Dean
at DDP Studio, Mercer Island, WA
Recorded September 29, 2018 to May 6, 2020

Les DeMerle - Hot Night In Venice: Live at the Venice Jazz Club (2021 Origin Records)

The 10th recording of renowned drummer Les DeMerle for Origin Records, "Hot Night In Venice" captures the fire, excitement and bristling energy Les has been bringing to world stages for over 50 years. And a show it is, as his longtime quartet offers up tight arrangements of jazz classics and serious in-the-pocket blues, but most of all, the band is groovin' hard, havin' fun and swingin' big time. Bonnie Eisele's sensitive, sassy vocals highlight the set, creating an ambiance that adds to the feeling of being at the club enjoying the set. From his ground-breaking Transfusion band of the late '60s, taking over Buddy Rich's seat with the Harry James Orchestra for 12 years, or his tours with the Manhattan Transfer and Wayne Newton, Les DeMerle has always been about elevating the band, bringing a visceral, unbridled dynamism to the stage. "Eisele and DeMerle are a hot combination. Her powerful voice and natural feel for rhythm come across in an explosive stage performance. His energy is absolutely contagious." -  Florida Times-Union

1. Introduction :14
2. Perdido 4:28 - Juan Tizol
3. Down By The Riverside 5:40 - Trad
4. Manteca 4:30 - Dizzy Gillespie
5. All That Jazz 2:42 - Benny Carter
6. Frim Fram Sauce 3:46 - Redd Evans/Joe Ricardel
7. Day In Day Out 4:06 - Rube Bloom
8. Woe Is Me 2:54 - Lord Melody/Sir Lancelot
9. The Very Thought Of You 4:27 - Ray Noble
10. The Lady Is A Tramp 3:14 - Rogers and Hart
11.Peel Me A Grape 4:06 - David Frishberg
12. Girl From Ipanema 4:52 - Antonio Carlos Jobim
13. All Right OK You Win 2:49 - Mayme Watts/Sidney Wyche
14. Night Train 3:25 - Jimmy Forrest
15. Comin Home Baby 3:00 - Ben Tucker/Bob Durough
16.You Are My Sunshine 3:08 - Jimmie Davis/Charles Mitchell
17. Splanky 2:32 - Neal Hefti

Les DeMerle - Drums/Vocals
Bonnie Eisele - Vocals
Johannes Bjerregaard - Piano
Chris Luard - Bass

Produced by Les DeMerle & Bonnie Eisele, Music Unlimited Productions
Recorded by Federico Nalesso, live at the Venice Jazz Club, Venice, Italy, August 16, 2014
Mixed by Johannes Bjerregaard at Amber Pennington Music, Lubbock, TX
Mastered by Dan Dean at Dan Dean Productions, Inc, Mercer Island, WA

Charlie Porter - Hindsight (2021 OA2 Records)

Internationally acclaimed GRAMMY Award Winning trumpeter and composer Charlie Porter first cut his teeth on the New York jazz scene, while simultaneously studying classical trumpet performance at The Juilliard School under the tutelage of famed trumpeter and composer Wynton Marsalis.

Not a stranger to the idea of infusing one's art with examinations of societal conditions, Grammy-winning trumpeter Charlie Porter follows 2019's "Immigration Nation" with thoughts of how we act in hindsight to deal with the collateral damage of 'progress' and the centuries-old struggles with racism, inequality and corruption. Born during the upheavals of 2020, "Hindsight" reflects the tumult, uncertainty, and fiery emotions of the times, yet with the recent birth of his son, and thoughts of how we're going to leave the planet for the next generation, his "For Ellis" closes the album with a gospel choir and a hymn of hope. Joining Porter on the wide-ranging set of originals are saxophonist Nick Biello, pianist Orrin Evans, guitarist Mike Moreno, bassists David Wong & Damian Erskine, Behn Gillece on vibes, drummer Kenneth Salters, along with several guest performers. "Porter's playing is fluid, expressive, and magnificent." - DOWNBEAT

1 Tipping Point 5:49
2 Hindsight 7:00
3 Walking The Plank 6:51
4 Things Fall Apart 7:53
5 Requiem 7:38
6 In Short Supply 9:45
7 Going Viral 5:55
8 Paradise Lost 5:33
9 For Ellis 4:18

All music by Charlie Porter
Porter House Music (ASCAP)
(4) lyrics by Majid Khaliq
(6) lyrics by Madelaina Piazza

Charlie Porter - trumpet
Nick Biello - alto & soprano saxophones (1,6,8), keyboards (7,8)
Mike Moreno - guitar (3-6,8)
Behn Gillece - vibraphone (2,6)
Orrin Evans - piano/keyboards
David Wong - bass
Damian Erskine - fretless electric bass (4)
Kenneth Salters - drums
Jimmie Herrod - vocals (4,6)
Rasheed Jamal - rap vocals (6)
Majid Khaliq - violin (4)
Bassekou Kouyate - ngoni (African traditional guitar) (6)
Mahamadou Tounkara - ntama (African talking drum) (6)
Hallowed Halls Gospel Choir (9)

Baker's Brew - New Works (Psychosomatic Records 2021)

New Works is the very ambitious double album follow-up to the first Baker's Brew record, New Colors . The first album of this new record features the group creating spontaneous jazz compositions as they had done with the first record, but the second album puts the group into very new territory by performing in conjunction with surroundsound electronic compositions.

Live performances with these 4 channel electronic scores have been a very striking experience for audiences, and the group has used the best mixing techniques available to them to simulate that experience with this record. Playing this record on a large sound system is recommended as the best way to put the listener inside the sound field created by these works.

Maury Baker

the group
Baker's Brew is a Los Angeles based experimental jazz group that comes out of the vast experience of veteran drummer Maury Baker. The group represents his long-standing ambition to combine all of his diverse experiences through total improvisation to create compositions on the spot. Baker’s Brew also includes guitarist Daniel Coffeng, Jim Goetsch on soprano sax and electronics, and Carl Royce on upright bass & electronics. The group utilizes surround sound electronic scores as part of their performances to give their audiences a truly unique experience. More info on the group at

the release
Album I (tracks 1-7) – new jazz works / The first CD in the release features spontaneous jazz compositions from the group. While the group’s work ranges anywhere from ambient jazz to avant garde, this particular collection emphasizes a spacious sound in the tradition of Miles Davis’ “Kind Of Blue” and the ECM label.

Album II (tracks 8-15) – new electronic works / The second CD features the group improvising in conjunction with surround sound electronic scores created by group member Jim Goetsch. These works can best be appreciated on a large sound system in order for the listener to be inside the large sound field. 

1. Flatland 14:36
2. Medium Cool 06:54
3. Asymmetric 05:48
4. Cycle 10:49
5. Horizontal 08:44
6. Shift 12:52
7. Return 05:08
8. Conversation 06:26
9. Toledo 06:15
10. Incantation 07:18
11. Omen 05:06
12. Aviary 10:51
13. Signal 05:13
14. Gesture 05:14
15. Toledo (realization 2) 09:21

Maury Baker - drum set & percussion
Daniel Coffeng - electric guitar
Carl Royce - double bass and electronics
Jim Goetsch - acoustic and electroncially processed soprano saxophone, piano, synthesizers and electronic composition