>press: excerpts, articles, concert reviews, etc.
a period when mere imitation often masquerades as homage in jazz, it is encouraging
to find young musicians uncovering personal solutions through the use of
historical approaches. ... an excellent account of interpretive skills, ...
originals that display true personality."
I like about Pandelis Karayorgis's Trio is, their brand of quirky timing
walks a tightrope between swinging and not swinging ... Listening to them
can be like watching the tightrope wobble: thrilling because it's dangerous
as they flirt with disaster. Better to make music that plays for high stakes,
than to just play it sure and safe."
should say at the outset that Pandelis Karayorgis is one of my favorite pianists
- he takes the instrument one step beyond the innovations of Thelonious Monk
and Cecil Taylor, while keeping the former's sense of space and the latter's
dynamism and injecting a healthy dose of chromatic lyricism reminiscent of
Andrew Hill. ... the whole thing swings like hell. ... "Centennial"
- definitely my selection for Best Ballad of the year, in case anyone asks
- looks at the Duke's "Frustration" through a melodic/harmonic
kaleidoscope, with ravishing results.
Thirteen impressive compositions ... Karayorgis' ... methods are surprisingly
executes with subtle strength, methodically picking out his notes with impeccable
precision and intriguing logic. ... McBride meditatively interrogates the
compositions with penetrating profundity. ... These two musicians steer an
inner-directed course yet produce music that is capable of reaching out and
touching the listener. Their communicative skills go both ways."
creates a very personal, if not private musical space which warrants very
attentive listening, indeed."
Red Skies Karayorgis is magnificent, and Gregorio weaves some breathtaking
lines with him on clarinet. A fascinating disc by three master musicians."
the pianist gets to the essence of each piece without fanfare or musical
acrobatics but with impeccable attention to detail. Karayorgis' roots can
be traced to Monk, with whom the former shares an affinity to follow his
own muse, regardless of prevailing trends. ... Karayorgis is the dominant
voice. He exudes a confidant individuality that marks his performances as
genuinely original. ... He boasts a technical mastery that is never showy
but instead used to advance his ideas. ... The results satisfy uniquely as
genuine artistic expression."
... Karayorgis is a pianist not to be underestimated; ... He seems to think
his way through each solo, making weird but valid deductions from the basic
harmonic scheme. ... The focus here is on Karayorgis, and anyone who enjoys
jazz piano would be wise to hear what he has to say."
... As a work of restrained beauty and subtle textures and colors, it is
nearly a masterpiece. heartbreakingly beautiful. This [In Time]was an auspicious
meeting of two young minds who had already in 1994 established their own
voices on a burgeoning jazz improv scene."
enthusiastic eureka! should be the natural and inevitable response when listening
to "Heart and Sack". ... The inner swing and the coolness of this
music are so great that the trio ... sounds more like tomorrow than like
a solid jazz sense of forward motion, courtesy [of] the fine drummer Randy
Peterson and the superlative bassist Nate McBride ... Karayorgis, ... achieves
a synthesis that is delightful and very much his own. ... This trio has found
something new to say, and new ways to say it, in the well-traveled territory
of the piano trio. This is an excellent disc, highly recommended."
a strikingly personal approach ... [they] set forth to reinvent the piano
trio. ... Heart and Sack is highly recommended."
chops to spare and a less-is-more attitude ... strong, and even original."
is very much his own man, using quirky lines, sudden bursts of dissonance,
and soulfoul melodies, always in fresh combinations. ... if you love music
where chances are taken and cliches are scrupulously avoided, you will find
much to admire..."
key figure in Boston's under-40 generation of adventurous improvisers, pianist
Karayorgis has released several albums displaying a novel renovation of concepts
developed by Lennie Tristano and Thelonious Monk. ... Be warned, this music
doesn't reveal all its secrets on first hearing." |
Art Lange, Pulse
Pandelis Karayorgis is a brave soul who has ... fashioned a radical
sound of his own ... definitely original ... undoubtedly worth the ride."
Karayorgis has evolved his own signature
that is more than the sum of its parts. His Monkish take on Victor Young's
"I don't Stand A Ghost Of A Chance With You," which he first
recorded in 1998 with Guillermo Gregorio, shows a propensity for reinvention
that is inspiring.
recommendable ... It's a masterpiece[In Time]."
spicy solo work ... Karayorgis's encompassing piano work twists and turns
in offbeat directions ... this is an independent collection worth seeking."
memorable performances that demand -and reward-concentration."
who's made several nifty records in the last couple of years has a lot of
Monk plunk in his concept, but he's flexible and individual, conveying a
broad historical sense at the same time."
have no idea who this is but it's really very clever, very refreshing."
bits extracted from the great planetary arioso ... this music soberly embraces
our questions about the world."
shapes complex statements with admirable discipline, using dynamics, silence,
and density to great effect."
the pianist makes every note count ..."
is an accomplished improviser who has successfully melded the quirkiness
and wit of Monk with Taylor's restless pianism, an artist who explores the
inexhaustible timbral possibilities of the instrument. Headed towards a singular
voice, stimulating, at times surprising, and certainly original."
improvising is atonal and highly charged. Sounds like improvised Webern;
Maneri and Karayorgis have found a cool, convincing way of doing it. Thoughtful
quietist gem of concentration and elision. Well worth exploring."
Karayorgis appears to be a profoundly original pianist whose touch is full
of nuance ... All three renew and rejuvenate this instrumentation that is
as old as the world (of jazz) and stand out as a refreshing change."
wonderfully insane piano with Karayorgis heading directly for the edge, steering
clear of the tried and true. ... you should discover this gem for yourself."
He belongs to the key figures of the Boston scene. Pandelis Karayorgis, the 40 year-old Greek loves Schoenberg and Webern, and plays a jazz piano of a radical, sensibly calculated art. His sparse runs open previously little known realms of melody and dynamic. Music of quiet energy.
Does he swing or doesn't he swing? In pianist Pandelis Karayorgis and his trio there exists a tenacious sharp question mark. These sometimes Monkish, broad, dissonant charted with deliberation piano lines have absorbed so much jazz that you would like to hold with your hands the 4/4 beat but you can't find it. But when the swing beat is there, then Karayorgis likes to spin himself in a meta-jazz world, in which the eternal echo of all jazz pianists of this planet is frozen in a few to the point tones. "I feel that the music is tightly related to the swing feel. The exact time feel is almost always present or at least a specific hint. Therefore I prefer the term jazz to describe our music."
When the U.S. critics discovered this piano phenomenon their most frequent attribute is "original." An English colleague's opinion is that Karayorgis's playing sounds like "improvised Webern." A Canadian journalist was listening to a "wonderfully insane piano." And a universe-ally thinking French pronounces "this music soberly embraces our questions about the world." Insane and sober: this combination does not describe badly Karayorgis's stretched-out originality. Just as his swing feel is more perceived than articulated, so in his music coolness of a new kind is hidden. Loose exactness. Controlled extremes. Tristono-itis Post-Free.
Karayorgis himself is skeptical of the term cool. "The harmonic freedom and the elegance with which they transformed simple standard chord progressions were groundbreaking. They also are very misunderstood even today as regards their expressive range as evidenced in the unfortunate term cool, The intentional understatement in the music of Tristano, Konitz, Marsh and their collaborators is extremely expressive. I personally do not like calling it cool/free or cool anything, I just like exploring a wider range of dynamic possibilities, modes of expression etc. Fast/loud/frenetic playing has its place but is often used as an easy solution, it can be too obvious and dulls the audience's appetite for subtlety and nuance."
The subtle free thinker from Athens found himself at the piano at 9 and thanks to local radio and jazz clubs, the Praxis Jazz Festival and magazine entered the current of improvised music. In the early 80ies he studied economics during the day at Piraeus University and sat at the piano at jazz clubs at night. Finally he changed his study topic, 1985 he went to Boston and enrolled at NEC. Among his teachers were independent-minded personalities such as Jimmy Giuffre, George Russell, and Joe Maneri. Among his piano teachers were Ran Blake, Paul Bley, and Geri Allen. His direction in deep still waters was evident then.
Karayorgis is very conscious of his musical predecessors. For quite a time he had his own band dedicated to Thelonious Monk's compositions. Along with saxophonist's Eric Pakula he released in 95 "Lines," a tribute to the Tristano school. As sideman to saxist Guillermo Gregorio he explored the borderlines between cool and free. On his trio CD's he is paying tribute to Eric Dolphy, Duke Ellington and Billy Strayhorn. Despite this, critics call him foremost "original." This is because Karayorgis's music is not about imitation, selection or summing up but it is essence. Miraculous transformation. Transmuted substance. A precise balancing act between free fantasy and the established jazz scene. The Greek who lives near Boston today is critical of the propagation of jazz traditionalism in the music schools. "In my view mainstream jazz has become a form of traditional music or folk music. It is characterized by its adherence to only certain aspects of its own tradition such as repertoire, improvisation techniques and style, but not other more definitive, historically essential ones for jazz such as the need for innovation, expansion, etc. As such it can be as good or bad as any performance of Dixieland, Klezmer, Turkish taxims, Indian ragas, etc." Karayorgis's music is not based on such obvious styles. His art remains background, abstract, subtle - and in parallel it is developing a current made of gripping power.
For more than 10 years Karayorgis has been playing with bassist Nate McBride and drummer Randy Peterson. In the begging in different contexts and for a while as a trio. What you hear there is sometimes hard to believe: these three are suspended between swing and non-swing, between form and non-form with a common breath in a dark tunnel that takes them to the other side of the piece. Karayorgis plays his runs with calm, thoughtfulness and cold-bloodedness. The trio is modeling sound worlds as if having to picture from the beginning the surface of the music planet. This music is as if it speaks from sleep. Great freedom, soft ballad, all one.
What high magic is in this game? If we want to believe Karayorgis: none. "We simply listen intently to one another and we allow for a three-way dialog to occur" says the Athenian from Massachusetts. "Individual solo spaces are not as important as is the overall shape and development. Mostly we work off of regular lead sheets (some with chord changes and some without) and most pieces are treated simply as ‘head-solos-head.’ This simplicity of form opens up more possibilities in developing the shape of a piece."
Blood Ballad, the trio's latest album, immerses itself more than the previous Heart & Sack under the water surface, fantastically clear, mysteriously profound, dynamically nuanced. In the title piece, among others, Strayhorn's Blood Count is echoed, an immense agitated ballad of jazz history. (A ballad) that has nothing in common with the standard theme of the jazz ballad, the 32-bar "I Love You" unless one understands "Blood Count" as the last final flirt with death. Billy Strayhorn wrote this piece about his hopeless blood condition on his deathbed. One suspects: even in Pandelis Karayorgis's music the last questions find their pliant form.
Legend: somewhere in the wide land of jazz there is a pyramid.
This pyramid has engraved a few names on it, not many. The most legible are
Ellington, Monk, Weston, Hill. Sometime ago a hidden door of this construction
opened and a white light beam emerged and focused on a pianist called Pandelis
Karayorgis pupil of Joe Maneri and duo partner of his son Mat. Now he presents
his own trio that has its instrumentation as the only common thing with Oscar
Peterson's Trio. Karayorgis plays angular, wide-interval, single-note lines
resembling a massive saxophonist, places suspended markers in the air which
in some way tilt towards a rhythmic order. This is the wisdom of the pyramid:
Ellington, Monk reduced to the extreme. Great avant-garde.
Boston pianist develops a lexicon of improvisation.
For almost a century, jazz music has represented freedom for the people who play it and listen to it.
It would be hard to find a better example than pianist Pandelis Karayorgis, born in Athens, Greece, about five years before a military junta seized power of the country. All kinds of music were forbidden, according to Karayorgis, and Greeks turned to jazz as a force of freedom in the 1 970s, just as blacks in the U.S. had done a decade earlier.
"In Greece, perhaps it's a little bit romanticized, but we felt empathy because free jazz was a music of protest," he said. "Even in the U.S. it had more to do with civil liberties. In Greece, we had a romanticized view of the struggle of African Americans for equality and civil liberty."
As a result, the 36 year old Cambridge resident who has recently released his latest CD, the critically acclaimed Heart and Sack (Leo Lab) rejected the music of his native land for many years.
"I consciously avoided, and didn't enjoy Greek music until I was actually in my mid 20s, " he said. "I really listen to that music now. I know it pretty well. As a teenager, we tend to associate music with the perceived social context, so it really was not cool at the time, partially because we had a dictatorship in Greece."
Besides, listening to jazz was cooler. "There was also a record store that we used to stop at when we came back from school," he said. "There were all these jazz connoisseurs. They looked down at us because we were kids and we didn't really know about jazz. It had this aura of inaccessibility. It was something to try to get into. It was interesting way to get into a kind of music."
In fact, he loved it so much, in 1985 he decided to abort a career in business administration, cross the Atlantic and enroll at the New England Conservatory in Boston. There he studied with musicians such as Paul Bley, Geri Allen, Dave Holland and pioneering reedsman Joe Maneri, who would become an important influence of his music.
Of his studies with Maneri, Karayorgis said: "He stresses the importance of stripping down your mode of expression to the absolute essentials, and not having fluff, extraneous elements. Just limit yourself to what's absolutely necessary. No extra notes. Every note has to be justified."
Maneri also taught Karayorgis about stretching ideas. "When you think you're done, you have to dig deeper to find even more," he said. "He teaches you to reject any cliché and really think about that very seriously."
Karayorgis put in three years with an ensemble led by another pioneering reedsman, Jimmy Giuffre, as well as recording with Maneri, Naftule's Dream drummer Eric Rosenthal and saxophonist Guillermo Gregorio. (In fact, Karayorgis can be heard on Gregorio's soon-to-be released hatOLOGY CD, Red Cubed.)
Karayorgis was forced to put his search on hold after he graduated with his bachelors degree in 1989 and returned to Greece to serve in the army for a year.
"I had to go back, because I had to do my military (service, compulsory for all Greek citizens)," he said. "After that, I really missed the people I could work with, and grow, that existed in Boston. You know, we're always complaining about Boston, but I felt in Athens, with the exception of two or three people, most jazz musicians are really into the 60s and the 70s. There aren't that many people who had a vision about creating new music and just creating their own voices as musicians. They're really into the Blue Note sound of the 60s. Every other band sounds that way, or they're still imitating Sonny Rollins.... Even though I had much more work there, it wasn't gratifying. I really wanted to come back here and work with people who had the passion I had."
During his stint in the army, which he terms "an exercise in futility," he wasn't able to practice piano at all. Still, Karayorgis had no problem getting back into the swing of things. "I sprang right back into it, after catching up on sleep for a couple of months first," he said.
Karayorgis returned to Boston in 1991 and got his masters degree from the Conservatory two years later.
While Karayorgis said there are still political ideas behind his music, the music ~ ~ ultimately comes first. "I think the idealism of the early 20s combined with all the dejection you get as a jazz player, and trying to do creative music gives way to becoming a little more cynical," he said. "Deep down, I think it remains. It's there, but I m really focused on the music. Sure, there is an underlying feeling when I go to present my music that there's a feeling of a total statement. It's not just music. It's what the music represents also in terms of how you think about music, what choices you make, what you reject. For example, if you reject certain aspects. or if you choose not to endorse certain aspects of ;h e mainstream jazz tradition of today, there is a statement. It's hard to put it very precisely, because it can almost become too trivial."
As a composer, Karayorgis said he is interested in creating a "wholesome relationship between the written statement and the improvised parts."
"I try to write a composition that's pretty much going to be in the same language as the improvisation that's going to follow," he explained. "That's not a novel idea, obviously. Charlie Parker wrote tunes that were in the same language as he improvised in. Precisely for that reason, I don't want to play Charlie Parker's tunes, as much as I like them, or Lennie Tristano's, or Monk's, because I want an organic relationship."
In fact, Karayorgis said he has decided to stop playing Monk tunes. "It's so hard for me not to get into a Monk state of mind," he said. "I really want to get away from the four bar phrases. I really want to pursue my own language, and that's what he would have done. I think if I asked him advice on what to do, he would have said the same thing."
Monk would have been proud, especially since Karayorgis continues to break new ground.
"I think I'm getting there, and hope my whole life I have
to be getting there," he said. "You have to be searching. I feel
while you're playing you have to be searching. It's very important while playing
to be searching for things, finding things. And if you stop searching because
what you know what you have to do, that's kind of a creative death. Once everything
has been formalized, and it's like a recipe, and it's really comfortable,
then it's not worth it."
New low-budget room has high aspirations
Nine people are in the audience as the concert gets underway. We are sitting on metal folding chairs that have seen better days, and the stage is an Oriental rug set cockeyed in the corner. One of the two spotlights above the three musicians goes off and on by itself; there must be a short in the wire. But it cost just $8 to get in, and despite the low-budget atmosphere, you can't escape the feeling that you are very cool for being here, as if you are in on a secret to which few others are privy.
''We'll be playing two sets,'' bassist Nate McBride announces before the music starts. ''There is beer available in the fridge, which you are welcome to.'' Then he, drummer Curt Newton, and keyboardist Pandelis Karayorgis, playing a Fender Rhodes electric piano, launch into an electrifying, deeply groovy, and out-there piece of music written by Karayorgis. For the next 45 minutes, the trio - they call themselves the mi3 - will play four more tunes, including a Thelonious Monk, an Eric Dolphy, and a Sun Ra, that are varied, often strange, and as accomplished as anything you'll hear anywhere else in the city.
Boston's newest venue for avant-garde jazz is as unlikely as they come. On the floor above a Hyde Park dry cleaners, in a room that used to serve as storage space, sits Artists-at-Large Gallery, which is about to turn a year old. Since November, it has also hosted the mim series - it stands for ''modern improvised music'' - organized by McBride.
How did this happen? To make a long story short, McBride and Thomas C. Seggers Jr., an artist known simply as Tommey, used to be neighbors in Jamaica Plain. McBride sold Seggers his old Volvo, the two parted ways, and then they wound up living near each other again, in Hyde Park. McBride was looking for a place for his mim series, and Seggers had recently leased a space in the second floor of a building at Hyde Park Avenue and Everett Street.
''Why have music here? It's yet another form of expressions,'' Seggers says. ''Jazz is the most American form of expression. It's ours.''
There is the obvious question: Why Hyde Park? And there is a simple answer: Because McBride lives there. But there's more to it than that. Why McBride set up a jazz series in a hard-to-find room at the southern tip of the city has a lot to do with the opportunities that are afforded musicians who play outside the mainstream.
McBride, 31, says he knows many avant-garde jazz musicians who live in Boston but rarely perform in the city. ''It's a style of music that falls through the cracks sometimes,'' he says. ''It's certainly not economically viable for a large place, but it's not something you can go down to the local talent show and hear, either.''
McBride should know. He's a well-regarded bassist who happens to be associated with some highly acclaimed avant-garde and free-jazz artists, including Chicago-based reed player Ken Vandermark. The two, along with drummer Hamid Drake, make up the trio Spaceways Inc., which released one of 2002's most outstanding albums, ''Version Soul.''
Vandermark, in fact, will bring his quintet, the Vandermark 5 - one of free jazz's most beloved bands - to Artists-at-Large on Wednesday for a concert celebrating the release of the group's new disc, ''Airports for Light.'' The show is a huge ''get'' for the gallery; the Vandermark 5 could easily fill a small auditorium.
Though this is the first time he'll have his quintet there, Vandermark has already played the gallery twice, in November and December. ''The environment was good to play in,'' Vandermark says from his home in Chicago. ''The two times I've played there, the audiences have been really, really good and really listening.''
The goal, for now, is modest: a concert on the second and fourth Fridays of the month - in which McBride is often the bassist - plus other shows that fit into the schedules of groups that are touring. And if things have gotten off to a slow start, McBride is optimistic. By the end of the first set of the recent mi3 concert, just 15 people had showed up, but the audience's small size didn't drag down the event; on the contrary, it made it feel like a rent party, a concert from the bebop era, held in someone's home, thrown together to help a musician pay his rent.
''It pretty much is a rent party,'' McBride says when the analogy is suggested to him. So far, he says, he is spending more money to promote the shows than he collects at the door. McBride - who plays the gallery tonight with his own quartet, on a double bill with the Central Artery Project - is not at the point where he can play music for a living. A Seattle native, he moved here 12 years ago to study at Tufts and the New England Conservatory, but he earns his money as a carpenter, making furniture.
So why put so much effort into a concert series that is drawing small crowds and costing him money?
''To try to get it to stand up on its own,'' he says. ''I just want a place to play and have a place where people can hear us play and not let them down. But I don't expect to make any money on this in the near future.''
Steve Greenlee, Boston Globe, 3/14/2003
REVIEWS OF LIVE PERFORMANCES
Diesmal kam die lyrische Seite zum Klingen
Jazz fest hits all the right notes
Phrenology fest makes jazz world smaller
Mit einer Vollwertportion Jazz beginnt dafür der zweite Tag des Festivals [Passau JazzFest 2006]. Das Quintett um den Pianisten Pandelis Karayorgis zieht mitten hinein in die Tiefen und Untiefen einer aufregenden Jazzgeschichte. Welch geistiger Vater dahinter steht, spürt man sofort an Karayorgis Bewegungen. Die Musik läuft nicht einfach geradeaus, sondern schlägt immer wieder Haken, wechselt kunstvoll Harmonien und Tempi. The Monk Sphere verbreitet der griechische Komponist zusammen mit Musikern aus Österreich. Ausgehend von knapp formulierten Melodien und transportiert von anhaltendem Swing bleibt der hochkomplexe Jazz durchgehend verdaulich. Zwei exzellente Saxofonisten, Klemens Pliem vom oberösterreichischen Hollotrio und Jungstar Clemens Salesny, legen Improvisationen ein, als könnte man die Errungenschaften aus 70 Jahre Jazzgeschichte einfach inhalieren und wieder hinausblasen.
Festival Scenes - DuMaurier
International Jazz Festival Vancouver –June 20-29
Gregorio's alto has that luminous sound, a sonic effect: the
way sound taps into the pleasure centers of the brain. Maneri's electric violin,
agile and unpredictable, explored the textures between reeds and piano, next
day sharing the stage with cellist Peggy Lee, the two strings richly blending
with Francois Houle's clarinet.
The Mandala Octet includes two excellent soloists. ... Pandelis
Karayorgis, the Mandala Octet’s pianist, is a fluid, inventive improviser.
Karayorgis makes use of the entire piano and he often uses his elbows to create
exuberantly percussive effects. His energetic style, reminiscent of Cecil
Taylor and Don Pullen, is a welcome contrast to the many jazz pianists who
merely imitate Herbie Hancock and Chick Corea. His fierce improvisation on
The Last Elephant was particularly impressive.
PANDELIS KARAYORGIS: Heard good things about the Beantown pianist's
new trio disc. And though he has a tendency to be a bit dry, it's that analytical
side which provides most of the high points of his performances. Internet
Cafe, at 9 & 10:30
PANDELIS KARAYORGIS: The Beantown outcat is a valuable missing
link. Last year's Heart & Sack found him synchronizing the piano strategies
of Andrew Hill and Anthony Davis, and like the woefully neglected Lowell Davidson,
his abstractions have just as much heart as brains. He doesn't get to New
York often enough. Knitting Factory, Knitactive Stage, at 10.
Pianist PANDELIS KARAYORGIS mixes freedom and headlong intent in a manner that recalls equal parts Lennie Tristano and Paul Bley. (The latter was one of his teachers at New England Conservatory.) His lines wander freely, but they always sustain themselves with a comin’-atcha rhythmic propulsiveness and tensile strength. He matches wits with bassist Jef Charland and drummer Luther Gray at Rutman’s Violins, 11 Westland Ave, Boston | Saturday, May 12, 2007
Karayorgis ist der Prototyp eines ‚denkenden‘ Musikers, der sein Material abspeckt und dehydriert bis auf die Essenzen. Nur ist dann dieses durchgeistigte und erinnerungssatte Konzentrat verschmolzen mit gefühlsintensiver Musik- und Lebenserfahrung. Wie auch bei den minimalistisch-markanten Motiven von Schlippenbach, bei Mengelberg, Blake und Paul Bley hat man es hier mit einer Pianomusik zu tun, die ohne überflüssige Töne auskommt, mit einer Musik, die erst bei Dämmerung zu fliegen beginnt.
Karayorgis’s improvisations take a normal song and turn
it completely around. Such was the case on I Know Why You’re Lonely,
where his intense double time runs were absolutely amazing. … Good writing,
a hint of the avant-garde, and some impressive performances by Karayorgis,
bassist John Pineda, and percussionist Eric Rosenthal.
Tthe group, thanks to Karayorgis, hits creative pinnacles on
“Swarm” and “II”. The pianist’s astute, urging
comping on the former gives way to a blistering, ominous solo that is at once
fleet and chunky. The lyricism Karayorgis bring to the fore on the first part
of the latter is peppered with sudden bursts of motion, while the driving
section is bolstered y the pianist’s dramatic waves and splashes of
Pianist Pandelis Karayorgis is a very creative soloist, and
he is not afraid to employ clusters, smears and other effects on his way to
an original solo style ... supply enough heat to keep the kettle boiling.
SCANS OF NON-ENGLISH REVIEWS