Showing posts with label Russ Lossing. Show all posts
Showing posts with label Russ Lossing. Show all posts

Tuesday, February 1, 2022

Lena Bloch & Feathery Quartet - Live at iBeam Brooklyn (February 1, 2022)

Recorded live at iBeam Brooklyn, 12/12/021.

"Superior ensembles develop deep levels of telepathy, a singularity of purpose. That is evident here. It has become a cliche to say someone—usually a rhythm section player, a drummer, bassist or pianist—elevates the music. With Lena Bloch's Feathery, everyone participates in the four-way elevation"
- Dan McClenaghan, All About Jazz

"The concept behind the group’s name lies in their ability to rapidly shift direction, darting from point to point like a feather borne on the wind. Lossing shares compositional duties, and rounding Bloch’s tight-but-loose ensemble are veteran bassist Cameron Brown, still an electrifying presence, and undersung drum hero Billy Mintz."
- Fred Grant, Jazz Journal

1. Rivers (L.Bloch) 10:17
2. Valzer Quadrato (L.Bloch) 08:14
3. Wintry Mix (R.Lossing) 11:10
4. Curieux (R.Lossing) 14:06
5. Esmeh (L.Bloch) 12:52

Lena Bloch - tenor saxophone
Russ Lossing - piano
Cameron Brown - bass
Billy Mintz - drums

Randy Thaler - sound engineer, mix & mastering

Friday, October 8, 2021

Lena Bloch & Feathery - Rose of Lifta (October 8, 2021 on Fresh Sound New Talent)

Out October 8, 2021 on Fresh Sound New Talent, recording features Bloch, pianist Russ Lossing, bassist Cameron Brown and drummer Billy Mintz in gorgeous original music 

“Most impressive quartet – or rather, four equals perfectly attuned to each other. ‘Collective’ is the key word here, for this is truly musical togetherness, creating a sound all its own.” – Dan Morgenstern

“The stunning thing about every performance here is the delicate blend of composed music and spontaneous invention." – Donald Elfman, New York City Jazz Record

“..unwaveringly cohesive...bone-deep gorgeousness...complex, compelling and beautiful, sounds of the highest quality and inspiration laid down by a premier jazz quartet." –  Dan McClenaghan, All About Jazz .”

“I am from there. I am from here. / I am not there and I am not here.” So wrote Palestinian poet Mahmoud Darwish, a guiding inspiration for Russian-born saxophonist Lena Bloch and her quartet Feathery as they release their stunning new album of original music, Rose of Lifta.

Due out October 8, 2021 via Fresh Sound New Talent, Rose of Lifta digs deep into the yearning, soulful, complex sounds and the themes of exile, loss, and home encapsulated by Darwish, and emerges with seven shimmering original tracks. Bloch’s personal story is also closely related to yearning for home, as it traverses Russia, Israel, Holland, Germany, graduate studies, a few years of work, and finally immigration to the United States. Her experience informs the music and gives it a deeply personal angle.

With a remarkably cohesive band featuring pianist Russ Lossing, bassist Cameron Brown, and drummer Billy Mintz, Bloch’s second Feathery recording, a follow up to the acclaimed 2017 Heart Knows, demonstrates once again her three-tier excellence as a saxophonist, composer, and a bandleader whose approach nurtures listening, trust, and musical freedom. “We prefer to not have any particular arrangements of our compositions,” she says. “Jazz doesn’t have to be risk free – on the contrary, I think risk is a great factor! Because we cultivate this feeling, given the professionalism and experience of my fellow ensemble members, risk and challenge only facilitate the result. The less safe we all feel, the better it is for the music.”

With a tone simultaneously delicate, nuanced, and emotionally powerful, Bloch leads her quartet in four Bloch originals and three Lossing originals. As Brian Morton writes in the liner notes, “[Bloch’s] beautiful record is conditioned by and dedicated to the experience of exile. I cheerfully admit that it made me cry – I am no longer young, and have no shame over this – but not because of any political stance or any anecdotal content, but quite simply because her music, and that of Lossing, is so damned beautiful.” 

“Promise of Return,” the opening track by Bloch, begins with Brown’s single bass line, joined by piano, drums, and saxophone melding into cascading, conversant, recurring motifs. A resonant, wistful saxophone solo starts the second track, “Mad Mirror,” another Bloch’s original. Lossing’s searching, emotional piano and compositional acumen are highlighted on “New Home” and “Old Home,” as well as the final track, “Wintry Mix.” Two more pieces by Bloch round out the recording, the  title track “Rose of Lifta,” and “Mahmoud Darwish,” Bloch’s sonic ode to the poet whose art and work inspired the album.

While the tunes on Rose of Lifta arise from dark themes, the music is transcendent. “This isn’t a plangent song of sorrow, but an affirmation of life,” writes Morton. “It is music about life. I hear it as a continuous suite of dances and narratives, the voice of someone telling her and their story, arrestingly and thoughtfully. You cannot ask for more in music.”

Founded in 2014, Feathery Quartet draws its inspiration from diverse musical traditions: jazz, Middle Eastern, Eastern European, 20th and 21st century classical music. It performs original compositions written by Lena Bloch and Russ Lossing. Based on collective improvising, Feathery's musical approach consists of blurring the lines between composition and spontaneous invention, and between written and improvised sections. 

The ensemble's name refers to lightness, flexibility, readiness to drift in the new directions - like a feather in the wind. DownBeat says of Feathery, “rippling energy and sublimely weightless interplay.”

After years of live performances at venues including Cornelia Street Cafe Jazz At Kitano, Puffin Cultural Forum, Baha’i Center NYC, University of Massachusetts Amherst, Maureen’s Jazz Cellar, Live At The Falcon, the quartet released “Heart Knows” on Fresh Sound Records in 2017, receiving high praise in American and international publications including All About Jazz, New York City Jazz Record, DownBeat Magazine, France Musique and Chamber Music Magazine, to name a few. The album was also recognized by international outlets as a top jazz release, and in the NPR Jazz Critics Poll’s Top 100. 

Lena Bloch is a Russian-born saxophonist, composer and bandleader, based in New York since 2008. She has been leading her own chamber groups, performing original music since 1990, in Israel, Europe and the United States, including Red Sea Jazz Festival (Israel), Leverkusener Jazz Tage and Ingolstaedter Jazz Tage (Germany), Jazz Lent Maribor (Slovenia), Voronezh Jazz Festival (Russia), Washington Women in Jazz Festival, Vermont Jazz Center Festival, and Temple of the Arts Festival (United States). As a saxophonist she worked with Embryo, Steve Reid, Mala Waldron, Roberta Piket, Sumi Tonooka, Vishnu Wood, Harvey Diamond, Sebastien Ammann and many other American and European bandleaders.

Promise Of Return
Mad Mirror
New Home
Climbing Rose Of Lifta
Old Home
Mahmoud Darwish
Wintry Mix

Lena Bloch (saxophone, composition)
Russ Lossing (piano, composition)
Cameron Brown (bass)
Billy Mintz (drums, percussion)

Recorded July 12, 2019 at Skyline Studios 
Recording engineer mixing and mastering - Paul Wickliffe 

Tuesday, September 7, 2021

Russ Lossing / Loren Stillman - Canto (September 2021 Aqua Piazza Records)

1. Her Love Was Like Kryptonite 08:33
2. Don't Be Too Nice 06:23
3. P. 06:40
4. Channel 04:34
5. Canto 08:16
6. Whispers 04:50
7. Move In 06:01
8. Turn 04:43

Russ Lossing, piano
Loren Stillman, alto saxophone

Recorded by Clarissa Oaks March 20, 2014
Edited, mixed, mastered by Paul Wickliffe, Skyline Productions, Warren NJ
Produced by Russ Lossing & Loren Stillman
Photo and graphic design by Russ Lossing

Tracks 1,2,3 composed by Loren Stillman Music BMI
Tracks 4,5,6,8 composed by Russ Lossing Woodworth Edition Music BMI
Track 7 by Russ Lossing and Loren Stillman
Aqua Piazza Records 005, 1st Edition 2021

Wednesday, February 17, 2021

Russ Lossing - Metamorphism (2021 Sunnyside Records)

The ultimate goal for most composers is to make the complicated seem effortless. It takes a great deal of individual talent and an incredible amount of trust in your ensemble mates to accomplish this feat. Pianist Russ Lossing’s brilliant work has long been appreciated for its complex blend of rhythmic, harmonic and chance elements that are highly approachable and resonant.

Lossing’s latest recording, Metamorphism, is an extension of his continually evolving compositional identity. Here he presents eight original compositions, each written with its own particular strategy for interplay among a stalwart ensemble of longtime collaborators. It is only with musicians with whom he has established a deeply felt musical connection that this music could actually be realized.

The members of the Quartet have been regular collaborators with Lossing for decades. Each member of the ensemble is a unique instrumentalist with a broad palette and ability to play many styles without conforming to established sounds. Lossing met Michael Sarin some thirty years ago when the drummer moved to New York City from Seattle. Sarin’s pairing with bassist John Hébert, already a longtime associate, provides a variety of rhythmic and harmonic feels necessary for Lossing’s pieces. Lossing was a member of Loren Stillman’s first recorded ensemble, when the saxophonist was only 14 years old, and their musical affinity has grown exponentially over the past 25 years.

The ensemble is crucial to the success of the pieces. The open, impressionistic sensation of Lossing’s tunes has been one that he has always aimed for. The only method of achieving a sensation of naturalness is by allowing the other players a freedom of choice, which means avoiding the temptation to over arrange the pieces. The key is to leave the technical stuff in the background, while focusing on ensemble communication and expression.

The recording begins with the insistent “Three Treasures,” a piece that utilizes call and response patterns based on a theme that repeats itself after variations over a dramatic pedal point in Hébert’s bass. The oldest and most difficult piece is “Sojourn” which features a very technical polyrhythmic motif and a melody that lays across bar lines, making for a particular out-of-time feel. Stillman’s singing alto and Sarin’s flexible drumming style are vital to the success of the performance. The title track is written as a tribute to, and in the intervallic composing style of, the late great drummer/composer Paul Motian. The title of the piece is not only a metaphor for the metamorphosis of an improvisational piece, like a stone - through heat and pressure, it was also Mr. Motian’s email address.

Unlike many of the other pieces presented here, the thematic “Mai” sticks to its tricky compositional form and changes rather than going free during improvisations, an aspect of jazz music performance that is amazing especially as it is carried out in the composer’s intended floating style, as it is done here. “Pileatus” is a short, rhythmic piece, used here as a drum feature for Sarin, and whose title is derived from the scientific name of the Pileated Woodpecker, a species that is common in Lossing’s backyard. The quietly introspective “Blind Horizon” is a tribute to the late pianist/composer Andrew Hill. The piece takes a single idiosyncratic chord that Hill played repeatedly throughout his career to generate the melodic content while transforming the arrangement from structure, where Stillman shines over harmonic changes, into an open, spacy place reminiscent of, but not owing to, Hill’s spacious style.

The dancing melody for “June Jig” was worked from an improvisation that Lossing recorded into his computer with a MIDI keyboard, which was then notated and reworked a number of times by hand and through the notation software Finale until it became this dynamic ensemble piece. The program ends with “Canto 24,” a piece that uses a 13 measure cycle, each measure with a different time signature (much like in Indian classical music), with each instrument playing the unison melody until the cycle breaks, allowing individual improvisations and only bringing back the melody with Stillman at the end while Hébert and Sarin continue to improvise.

Russ Lossing’s music reminds listeners of the importance of both a singular approach to composing and the importance of group interplay in order to carry the performances out. Metamorphism captures Lossing’s musical principles through spirited and ethereal readings from his incredible Quartet.

1. Three Treasures 08:54
2. Sojourn 08:13
3. Metamorphism (for Paul Motian) 12:24
4. Mai 10:51
5. Pileatus 02:30
6. Blind Horizon (for Andrew Hill) 09:21
7. June Jig 06:33
8. Canto 24 09:30

Russ Lossing - piano
Loren Stillman - alto saxophone
John Hébert - bass
Michael Sarin - drums

Wednesday, November 28, 2018

Kirk Knuffke - Witness (SteepleChase Productions ApS 2018)


Two extraordinary talents from the two totally independent discipline of art forms are meeting here to create a genuinely unique musical experience for us.

Kirk Knuffke one of the most prominent of jazz cornetist and New York’s up and coming operatic baritone singer Steven Herring present here, to quote the liner-note author Neil Tesser, “an album that juxtaposes conservatory and nightclub, improvisation and spoken word, the sacred and the secular, into one of the most unusual and inventive projects of Knuffke’s career”

Knuffke’s previous release “Cherryco” SCCD 31832 was awarded National Public Radio (USA)’s Jazz Album of the Year 2017.

KIRK KNUFFKE cornet
STEVEN HERRING baritone
BEN GOLDBERG contra alto clarinet, clarinet
RUSS LOSSING piano

1 WITNESS (traditional) 6:34
2 LUSH LIFE (Billy Strayhorn) 9:30
3 RIDE ON, KING JESUS (traditional) 4:58
4 THE SATELLITES ARE SPINNING (Sun Ra) 4:15
5 IAGO’S CREDO (Guiseppe Verdi) 5:54
6 SUBWAY (Kirk Knuffke / Carl Sandburg) 2:34
7 ARIA MUSTAFA (Gioachino Rossini) 6:21
8 CHARADE (Henry Mancini, Johnny Mercer) 7:50
9 STORM (Kirk Knuffke / Kirby Congdon) 3:40
10 THE VOICE (Ellen Mandel /Thomas Hardy) 4:51
11 QUESTO AMOR (Giacomo Puccini) 5:10
12 A CITY CALLED HEAVEN (traditional) 4:50


Monday, July 9, 2018

Adam Kolker & Russ Lossing - Whispers and Secrets (FRESH SOUND RECORDS 2018)



01. Lost (Wayne Shorter) 8:00
02. Seven Bar Tune (Adam Kolker) 7:51
03. Only One (Adam Kolker) 6:57
04. Beautiful You (Billy Mintz) 5:43
05. Whispers (Russ Lossing)  7:29
06. Flight (Billy Mintz) 7:03
07. Gnash (Adam Kolker) 10:26
08. Secrets (Lossing-Kolker) 2:28

Adam Kolker (tenor & soprano saxophones, bass clarinet)
Russ Lossing (piano)
Masa Kamaguchi (bass)
Billy Mintz (drums)

Recorded at Charlestown Road Studio, Warren, New Jersey, on May 26, 2014

Engineered by Paul Wickliffe
Mixed & mastered by Paul Wickliffe at Skyline Productions
Cover photo by Russ Lossing / Band photo: Debbie Lossing
Liner notes: Russ Lossing

Produced by Peter Zak & Marcos Varela
Executive producer: Jordi Pujol

Wednesday, January 24, 2018

Monday, November 27, 2017

Gordon Grdina Quartet - Inroads (SONGLINES RECORDS 2017)


“Grdina continues to passionately explore the depths of jazz improvisation, cross-cultural fusions and the fun that comes with cutting loose. Lately, he’s been tearing it up in a new combo from New York City.” – Stuart Derdeyn, Vancouver Sun

This wild, eclectic project combines intricate counterpoint with the ebb and flow of dynamic yet focused improvisation. Grdina takes inspiration from the complexity of Bartok, the freedom of Ornette Coleman, the energy and logical construction of ideas in Soundgarden, and the delicacy of Webern.

Grdina’s debut recording, Think Like the Waves, was a trio with his mentor Gary Peacock and Paul Motian, and there is something of that group’s deep improvised jazz roots at work here, along with the compositional, classical music bent of his East Van Strings project (The Breathing of Statues). It’s also a reaction to his rock playing in recent years in Dan Mangan’s band and his own instrumental duo Peregrine Falls. Says Grdina, “I felt a strong inner urge to write music that was more unexpected, that didn’t repeat itself so much and was more challenging than what I had been playing. Forms can sometimes feel like you’re being strangled and talked down to. I wanted the music to continually move, feeling free but clearly directed.


“Compositionally this also came out of the work I’d done with Gary Peacock but in a very different way. We worked a lot on composition being a distilled idea that is the germ that sparks improvisation. I wanted to see what would happen if I composed the development of the ideas, keeping the same focused writing style, asking the same questions…The process of writing was similar to what I went through with East Van Strings, which was informed by listening to a lot of Webern and the second Viennese school.  Ornette always being present is a given but Soundgarden came up while on the road with Dan Mangan. When I was young I was a fan but didn’t really dig into it, as I was too interested in jazz at the time. I started listening to them again and was really excited and inspired by the energy and careful construction of ideas, intricate yet logical. I was also listening to a lot of Tim Berne and started to feel a connection between the two. So there was something between that intricacy and energy that I was really inspired by.”

“The musicians came together over a two-year process of getting more involved in the NY scene. Oscar [a member of Berne’s Snakeoil], Russ and Satoshi are all amazing, incredibly well rounded, multi-faceted musicians with unique voices. They are also master improvisers, but the chemistry of the band wasn’t apparent at the start. We had a lot of short rehearsals, a gig and then not seeing each other for two months. We did that for about a year. We then went on the road for a string of dates and everything changed. The band just solidified, everyone’s unique voice began to shine and the compositions started to click. It’s not easy music to grasp fully while you’re playing it, as it is very contrapuntal. Each instrument is focused on their own part and it takes a while before you hear it click with the other lines and the logic becomes apparent.”

“Over the course of the last few years I’ve started to connect some disparate directions musically. The oud and the guitar are starting to become interchangeable in a way…How I’m approaching each instrument is becoming more and more similar. I’m moving further away from the original Arabic sound of the oud and starting to push my own voice through its history. “Fragments” is a departure for me and is a path I would like to further develop with this band. Oud and piano in particular work so well together but are fundamentally opposed instruments. It really is like the meeting of two completely different worlds. The clash of ideologies is exciting to me.”

“I hear so many connections to so many genres in this music and from these musicians that I feel it has an extremely broad appeal…I’ve gotten compliments from folk, jazz and classical music fans both young and old, as well as fans of Soundgarden…What it demands though is deep listening. There are moments where it is energetic and in your face, bringing the music to you, but it always goes back in, requiring the listener to come closer and bring their own experience to it.”

1 Giggles  04:00
2 Not Sure  11:37
3 P.B.S.  08:06
4 Semantics  02:31
5 Fragments  09:34
6 Casper  05:44
7 Kite Flight  01:56
8 Apocalympics  09:34
9 Giggles II  04:24


All pieces composed by Gordon Grdina except 4 and 7 by Gordon Grdina and Oscar Noriega