Chico Freeman (tripling on this album on tenor, soprano and bass clarinet) made many records from 1977-84, and all are worth picking up by fans of adventurous jazz. Freeman's warm tone and knowledge of more traditional areas of jazz make even his more abstract flights seem fairly accessible. Joined by vibraphonist Jay Hoggard, bassist Rick Rozie and drummer Don Moye on this somewhat obscure effort, Freeman stretches out on lengthy renditions of his originals "No Time Left," "Uhmla," and a briefer "Circle."

Ari Roland is one of many talented musicians overlooked by jazz labels until the mid-'90s debut of Smalls. The bassist's brand of bop is a demanding variation on hard bop with complex twists within his themes that keeps the pressure on his top-notch quartet, which includes tenor saxophonist Chris Byars, pianist Sacha Perry, and drummer Phil Stewart. It's impossible not to dig the groove of Roland's forceful "The Lion of Yerevan," in which he showcases his dark arco basslines as well as his driving rhythm. "Swamp Thing Goes to the Indy 500" is also a wild ride as the band negotiates its many sudden turns. The standard "Thou Swell" is a bit more mainstream, though Perry's choice of chords is decidedly different, while Byars' solo evokes the spirit of Don Byas.

Nyárutó is going to be the 8th studio album of the ultimate Hungarian folk metal band, Dalriada. Album title refers to the folkish name of the month August – following the traditions as every Dalriada album dedicated to a month in line. One unified, ambitious, in terms of its musical keys something similar to the previous records’ vehement wildness album was born, which is still deeply interlaced by the power and effect of the Hungarian folk music and cultural patrimony. Amongst the covered themes there’s one saga from Szent István’s period (the founding of the hungarian state) but ancient Hungarian folk tales, a song about the medieval witch trials, some tracks in remembrance of the “hungarian El Cid”, Thury György (“turkish beater valiant”) also can be found.

Medieval Music In Denmark - Musica Ficta, Bo Holten (1999) {Dacapo 8.224133}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 287 Mb | MP3 @320 -> 153 Mb
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© 1999 Dacapo | 8.224133
Classical / Medieval / Choral / Sacred

The music contained on this recording ranges from the earliest known - regrettably unflattering - mention of Danes in music in the 9th century to Danish songs from the 15th century. It includes 13th century Parisian polyphony found in a remarkable Danish source and Danish versions of songs from the international repertory and thus illustrates both a Danish contribution to European music and the musical contacts that Denmark enjoyed with the rest of Europe in the Middle Ages.

Despite the fact that alto saxophonist Uri Gurvich is Israeli and that his debut CD is on the Tzadik label (as part of its "Radical Jewish Culture" series), The Storyteller only sounds parenthetically Jewish. The leader traffics in strong melodies and compelling rhythms, regardless of their motific foundation. And certainly the improvisatory methodology on display by Gurvich, pianist Leo Genovese, bassist Peter Slavov and especially drummer Francisco Mela owe a greater debt to post-bop than pizmonim. And when the album features a second saxophone (Chris Cheek's tenor) and Genovese switches to Fender Rhodes for a pair of tunes, the aesthetic becomes highly reminiscent of early fusion experiments.