| | Tony Pancella Alter Ego CD Tony Pancella Discography of CDs
Tony Pancella: Tony Pancella; Larry Willis (piano).
Personnel: Tony Pancella (piano).
Liner Note Author: Pierre M. Sprey.
Recording information: The Piano Company, Leesburg, VA (09/2004).JazzTimes (p.112) - "[T]he music can be delicate and lovely, and it can be intensely swinging....There are plenty of other moments that will bring joy to jazz piano fans." Tony Pancella Alter Ego Songs | 1. | Alter Ego |
| 2. | Annika's Lullabye |
| 3. | To Wisdom, The Prize |
| 4. | Just Wait and See |
| 5. | Don't Blame Me |
| 6. | Single Petal of a Rose |
| 7. | Alone Together |
| 8. | Blue in Green |
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Alter Ego Review
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| | John Coltrane Cattin' With Coltrane And Quinichette CD (1957)
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Digitally remastered by Phil De Lancie (1990, Fantasy Studios, Berkeley, California).
John Coltrane's earliest recordings for Prestige found him in the role of host to some excellent improvising saxophonists, modernists and classicists alike. At the same time as he engaged in these conservative blowing sessions, Trane was taking stock of himself as a composer and improviser. Trane felt the influence of Miles and Monk very keenly in 1957, and thenceforth there'd be a keen edge of discovery to his music.
Still, his blowing in more or less traditional contexts such as CATTIN' WITH COLTRANE AND QUINICHETTE embraces classic values, even as he strains to break free of the form. Coltrane is a gracious host, and often defers to Quinichette, letting the old master take the lead. But Trane gets his licks in. Listen to his subtle intervals behind Quinichette on the head to "Anatomy" (our old ...
| | Suicide First Album CDs (1977)
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Seven years after the duo's inception, Suicide's debut album finally sneaked out in 1977 on the coat tails of the nascent New York punk scene. If its aim had been to confuse, startle, or repulse, SUICIDE succeeded in spades. By the same token, if a part-time sculptor and avant-garde jazz musician form a two-chord synthesizer duo and call it Suicide, commercial considerations are presumably low on their list of priorities. SUICIDE was a record destined to have future journalists reaching for words like "seminal". Synth duos start here.
SUICIDE's bleak, one-act plays of violence and sexual deviance, and that lo-fi monotone punctuated by sleazy groans and horrifying screams, still induce nervous tension despite the passing years. To hear Alan Vega, an Elvis caricature out of time, crooning "Girl" is unsettling enough. When he acts out the desperation of "Frankie Teardrop" over the strictly controlled minimalism of Martin Rev's grinding keyboard and time-bomb rhythm, you're guaranteed a listening experience quite unlike any other.
There is "difficult music," there is "difficult but rewarding music" and ...
| | Yello Pocket Universe CD (1997) Import
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The album title, Moment de Bonheur, is rather trite, but the concert was marvelous and the recording preserves all of its intensity and charm. This was a first meeting between Jean Derome (flutes, alto sax) and Louis Sclavis (clarinets, soprano sax). Although different, their sound worlds are highly compatible. They have both dug their way out of the jazz realm and into new, largely unexplored music trenches while keeping ties to jazz. They both use other idioms to transform jazz and turn it into something completely new. They both favor an approach that combines clever writing, wild improvising, and a touch of humor and emotion. To put the project on firm ground, they agreed on a solid rhythm section of bassist Bruno Chevillon (Sclavis' most trusted sideman), and drummer Pierre Tanguay (a regular of Derome's bands for two decades). The quartet hit it off incredibly well. Derome ...
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EXTENDED PLAY was nominated for the 2004 Grammy Award for Best Jazz Instrumental Album.
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Pianist Luis Perdomo's follow-up to 2005's critically acclaimed Focus Point takes leaps unimagined even on that considerably challenging, ambitious debut. Or roughly half of it does, anyway. On five of Awareness' 11 tracks, Perdomo works not only with bassist Hans Glawischnig and drummer Eric McPherson, his partners throughout the entire album, but with a second rhythm section, ...
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Despite his longevity and the relative amount of local success he achieved, Bay Area guitarist and bandleader Eugene Blacknell never released a full-length before his death in 1990. Fortunately, he had enough recorded material that his son Gino was able to compile a collection of his father's best work for the Luv n' Haight-issued We Can't Take Life for Granted, the title the name of one of a handful of previously unreleased tracks included on the album. And it's too bad it took so long for something like this to reach an audience beyond Northern California, serious cratediggers, and those who heard the sample of "We Know We Have to Live Together" on Beck's "Black Tambourine" (from Guero) and decided they wanted to know more. Because what We Can't Take Life for Granted shows is a talented musician and songwriter, one who sounded just as good in his younger, rawer funk days as leader of the Savonics (a group he started when he was in high school, but whose tight five-piece rhythms and grooves would've been hard to match even by older professionals, and is assuredly part of the reason Joe Simon asked the freshly graduated Blacknell to act as leader of his touring band from 1964 to 1966) and the early New Breed as he does with the more polished, fuller techniques he employs later on, where the driving edge of the horns and percussion (in the fantastic "The Trip," for example, which was a hit on local radio stations) is replaced by smoother guitars and keys ("Holdin' On," "We Can't Take Life for Granted"). Although Blacknell ...
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