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Live On Tour 2008Trio X (Primary), Joe McPhee (Primary), Jay Rosen (Primary), Dominic Duval (Primary)CIMPOL 5015 live at COLGATE UNIVERSITY Hamilton, NY Our arrival on campus was timed to accommodate an 11 a.m. interview with Trio X conducted by Brendan Young on WRCU (Colgate University radio). The interview was perhaps most impressive for its thoughtful and well-prepared questions offered by Mr. Young and went far beyond the usual perfunctory surface chat that passes for the norm in the media. Immediately following the interview the trio was treated to a lunch, hosted by The Heretics Club. The subsequent informal Q&A session moderated by Mark Shiner (Office of the Chaplain) again demonstrated thoughtful inquiry and response, in this case in regard to the nature of being a creative person and the subjectivity of the spiritual rewards of both the giver and receiver. Particularly encouraging was the number and quality of follow-up questions from individuals who lingered, talking with the trio and Crew long after the formal reception ended. We then had about 80 minutes of downtime; most of us relaxed and traded jocularities, insults, and obscenities with one another while Dominic slept. Then it was over to Donovan’s Pub to set up for the 4 p.m. concert. The trio opened with Colgate Afternoon, a lengthy improvisation involving multiple references and moods and appreciated by an audience of some one hundred plus. Besides the music itself, this performance is notable because it was the opening for as well as the longest piece of the whole tour. Colgate Afternoon also contains the first reference of Brown Skin Girl, one of the most referenced (in variations) pieces throughout this tour. After a break, Jay came back with a three and a half minute percussion intro. Meanwhile, outside under darkening overcast skies, a sizable group of geese, on its way south to warmer climes, descended and engaged in a good deal of gawking and honking during its stay. Jay’s intro seemingly inspired Joe to reference “Secret Love,” at first rather tentatively but then with increasing boldness over the next 10 minutes. Take a Walk Through the Woods I think reflects the rainy twilighted ambiance, clearly visible through the windows, that had settled upon and engulfed the pub. Here is a fine example of how the trio, both individually and as a group, takes and develops a thread. The reflective mood continued and the trio closed the concert with Motherless Child, a continual favorite of the group, as evidenced by its many variations. Thanks in particular to WRCU, Mark Shiner and The Heretics Club, the divisions of University Studies and the Humanities, The Institute for the Creative and Performing Arts, Michael Coyle and the Department of English—all part of Colgate University. CIMPOL 5016 live in ANN ARBOR, MICHIGAN After the Colgate University concert we drove on to Ann Arbor, Michigan, to participate in Edgefest. The rain and cold followed us but it mattered little, what with the warmth and welcome of Deanna Relyea and her Edgefest crew. The Kerrytown Concert House is an “L” shaped space and serves as both concert hall and art gallery. At the time of our stay this space was nicely appointed with canvas and prints (by artists Charlie & Paul Hickman), and filled with a near-capacity audience, many seemingly familiar with and long-time supporters of Edgefest and its efforts. After a familiar and festive set of introductions by Deanna, Piotr Michalowski, me, and Joe McPhee, the trio opened in a very reserved and almost dour manner with The Ebb of Sorrow. Unresolved? Unrequited? Whatever. The trio then moves in another direction with Brownskin Funk, approaching it for the second time (Colgate University being the first) in as many days. But this time the reference comes from a completely different direction. Jay opened with a funky brush stomp and Dominic then picked it up with hand bass percussion. This produced a couple of reflexive claps, shouts of encouragement, and tenor cheers from Joe, and new heights for the music. They immediately launched into Motherless Child, which brought yet another change in mood. This reading of a Trio X favorite is both deep and different. The trio seemed to be all over the place emotionally, and they took off in the opposite direction with Brass Blast, a completely improvised structure of some excellence and possessing an abrupt conclusion. Joe continued on the flugelhorn (which, as well as his trumpet, was rarely used on the rest of the tour) for a Rainy Reference—quite reflective of the weather by this time raging outside. Note the different emotional colorings when he switches over to soprano. Joe may be leading on this piece, but it seems to me that Dominic, as is often the case, is directing. And then it was over. The trio, unlike the audience, seemed completely drained. After an extended ovation the trio returned to the stage, made some comments pertaining to their energy and music, and Jay then engineered the foundation to what became Secret Love The Sequel. Secret, perhaps, but not unrealized. Another night of X surprises. This is the second time that Trio X has been documented at Edgefest. The earlier session, from 1999, can be found on Cadence Jazz Records 1144. CIMPOL 5017 live in CHAMPAIGN, ILLINOIS The Krannert Art Museum offered up a wonderful setting: a large room filled with an exhibition of the dimensional paper art of Kyoko Ibe. Its presence and use of three-dimensional space and light served as an inspiring backdrop, sidedrop, and frontdrop for the Trio’s sound art. The audience, which exceeded the seating capacity, was a good mix of ages and included a number of young children, perched expectantly on the front row seats. Kids don’t usually prejudge and an open essence radiated from the younger segment of this audience. The informal pre-concert gathering afforded our group a chance to exchange comments and something more than superficial pleasantries with many of the audience members. Trio X possesses uncanny empathy: not only do they listen and share an intuitive or, at the very least, cooperative direction, but they are also sensitive to their surroundings. If an audience is friends of the court, so to speak, all is good. But if this is not the case or the audience is indifferent, then the group sets to the challenge of converting it. The ambiance of this art space was obvious, almost sacred, as was the unspoken interaction of the audience. And there is the room itself. Trio X plays the room, be it The Spirit Room or the Krannert art gallery. The latter is a very large and live room with a hardwood floor, high ceiling, and little (other than the audience) to absorb sound. From the start you can hear how all three members play with sound, its reflection, and the space. Jason Finkelman, curator of the concert series, in his introductory remarks talked of how these events engage the artwork in different ways and how the music may respond to the artwork. Here is the Trio X response. Judge for yourself if the giving and receiving was successful, and if the consensus, held by a growing number, that Trio X is arguably the most dynamic combo in Jazz/creative improvised music is justified. Different strokes for different folks. For me these are strokes of brilliance. The trio seemed very formal during this concert—insistent yet pensive. Due to the time restrictions of the museum concerts, this recording presents the concert in its entirety. Quite a nice package, wouldn’t you say? Special credits and thanks to our sponsors: The Krannert Art Museum, Kathleen Harleman, Anne Sautman, The Edwards Foundation Arts Fund, WEFT-FM, and Jason Finkelman, who coordinated the event. His efforts, along with those of Kyoko Ibe and the audience, helped make this happen. CIMPOL 5018 live in WAUKEE and DAVENPORT, IOWA This was our second trip to Waukee, Iowa. The familial warmth and welcome was refreshing the first time and fondly received the second. Earlier in the day the trio took part in an informal gathering of area music students, answering questions, giving demonstrations, and engaging in a very informal jamette. After the students left the theater we gathered in a dining space in the Caspe Terrace and ate a supper especially prepared for us by Jackie Garnett, wife of Abe Goldstien—he being the force responsible for hosting Trio X. The concert began after almost 20 minutes of introductions and on-stage schtick between our host and me and the trio, and opened on high spirits with Waukee Hello Naima. The upbeat mood, along with some political discussion, continued during the intermission. This in turn inspired a notion to song and People Get Ready. The trio uncharacteristically chose to predetermine a piece and decided they would open with People Get Ready in the second half of the concert. They followed that with a lengthy improv, Joe on pocket trumpet and referencing the obvious on Old River Man. This is music to lose oneself in. . . . . . . . . . The music from the second half of this disc comes from Davenport, Iowa, about 250 miles east of Waukee. An easy drive, we arrived in good spirits and with an abundance of energy. Prior to the evening’s concert the trio hosted a clinic-type discussion and we all then ate supper. They hit at 6 p.m. with PolyRhythm Valentine, one of the few occasions on this tour that the trio referenced material from their previous 10 years. PolyRhythms is an outreach program established around 2005 and spearheaded by Nate Lawrence. Its mandate is to reach out to the community—to the youth in particular—and expose and nurture an appreciation of Jazz/improvised music in all its forms. The concerts take place in the Redstone Room and are part of the larger River Music Experience. So far it’s all an uphill grassroots effort; more impressive in its housing and accomplishments than commercial success—a familiar story in the artrepreneurial world. Thankfully the exceptional persist despite the lack of present rewards; any acknowledgement sometimes comes only decades later. I think it was this understanding, set in these rather pleasant surroundings (where are housed/displayed some wonderful archival artifacts of the area’s cultural involvement and contributions to the Jazz heritage), that inspired the group on this particular evening. This understanding may have also influenced, by association, a program with greater direct referencing of the tradition throughout the concert. The trio ended their contributions to the land of Beiderbecke and riverboats with Going Home. Our thanks to Nate Lawrence and PolyRhythms. CIMPOL 5019 live at BOWLING GREEN STATE UNIVERSITY and HAMILTON COLLEGE After a night’s rest in Davenport, Iowa, we got up and drove east. We pulled into Bowling Green, Ohio, around 3 p.m. and checked in. With the exception of Dominic (who was feeling a bit under the weather and elected to stay and rest at the motel) we all went over to David and Linda Dupont’s house for some much needed relaxing downtime, conversation, and food. After the meal it was universally agreed that we all had eaten too much. We eventually pulled ourselves away from the food and conversation to go set up at the Wooster Street Center, a large octagonal teepee-like building on the Bowling Green State University campus. The concert contains yet another Old Man River reference. The piece, along with “People Get Ready” and “Brownskin Girl,” was turning out to be a trio tour favorite. This reference was perhaps the most circuitous and indirect of the whole tour. As with many of the musical references explored, it was the result of many hours of conversation while traveling in the big red van. As this was an historic—perhaps pivotal—election year, the politics of the time helped bring some topical color to music not always viewed as political. This concert also contains Pig Knuckles & Rice (unreferenced previously), bass and drum solo spots, and a new variation on “Secret Love” (which ended the concert). Traffic, the penultimate piece, is a wandering, free-associative creation, quite cathartic, and prompted a letting-go of emotions. One can almost hear the release of the mood in the following near jaunty reading of Secret Love Secret. Displaying a lightness uncharacteristic of much of Trio X’s work, this piece is most delightful. . . . . . . . . . As with the 2006 Trio X tour, we ended our trip with a concert at Hamilton College in Clinton, New York. Same site, same venue: the Café Opus. This time however our host, Doc Woods, had arranged to have the espresso machines and other electric noise-making devices at the adjacent coffee bar shut down during the sets. We had driven in from Bowling Green, Ohio—about an eight hour trip—and had enough time to get some food and rest before the 9 p.m. start. Of all the venues on this tour this one was the most nightclub-like. The audience was made up of hardcore listeners, who for the most part congregated up front, while in the rear were yappers, snackers, and transients either oblivious to the efforts of—or perhaps trying to compete with—the musicians for the soundstage. In spite of this, and perhaps playing to the focused attention the majority engaged, the trio opened strong. This set differed from the others in that Joe did not play either the flugelhorn or pocket trumpet as he felt the brisk coldness of the rainy fall night had had its effect on everyone. Perhaps so, but, as evidenced by this concert, his saxes lacked neither warmth nor power. Nor did Jay or Dominic. This is the essence of Trio X. After the break the trio stretched out on what is now called Joe’s Song for the Child, a wonderful example of the trio’s ability to make whole cloth out of threads of sound. -Robert D. Rusch - October 2008 Honeymood on SaturnAndrew Lamb (Saxophone), Tom Abbs (Bass), Warren Smith (Drums)His limited discography as a leader may well be explained by the deliberateness exhibited in both his playing and composition. Such careful consideration obviously carries over into his recording choices and are well worth the wait. Emotive. Thinking. This is music worthy of your attention. DiscoversCargo Cult (Primary), Tomas Ulrich (Primary), Michael Bisio (Primary), Rolf Sturm (Primary)This is Cargo Cult’s fourth recording (Cadence Jazz 1214, CIMPs 375, 380) and this trio is continuing to find interest in their ever evolving concepts: always musical. Their last release had them addressing covers/standards. This time out they all contribute originals, compositions strong enough in their musicality to stop you in your tracks. If you haven’t tested the Cargo Cult waters, do so and find out what has CIMP so excited. The ThroesNate Wooley (Primary), Taylor Ho Bynum (Primary), Ken Filiano (Primary), Tomas Fujiwara (Primary)Two horn players of the mid ‘70s who over the last decade not only have shown the stamina for the long run but also the skills and talent to be leaders in early 21st century creative improvising music. Here is Free music in a face-off between trumpet and cornet presenting what is obviously post 20th century Jazz, thankfully free of the rote and cliche of so much of today’s music. Everybody contributes compositions. Ken Filiano and Tomas Fujiwara keep a flow and edge to the always compelling music. The ThroesNate Wooley (Primary), Taylor Ho Bynum (Primary), Ken Filiano (Primary), Tomas Fujiwara (Primary)Two horn players of the mid ‘70s who over the last decade not only have shown the stamina for the long run but also the skills and talent to be leaders in early 21st century creative improvising music. Here is Free music in a face-off between trumpet and cornet presenting what is obviously post 20th century Jazz, thankfully free of the rote and cliche of so much of today’s music. Everybody contributes compositions. Ken Filiano and Tomas Fujiwara keep a flow and edge to the always compelling music. The Hues of DestinyAndrew Lamb (Primary), Tom Abbs (Primary), Warren Smith (Primary)Andrew Lamb is contemplative. And this contemplation may be the reason why he has led so few sessions over the past two decades. This is second CIMP and the first part of an extended two-CD session (CIMP 389 will complete the concert) and follows five years after his first CIMP. The seven compositions offer structure that, though thoughtful, offer plenty of room for emotive improvisation and intensity. Pacing and passion mark Andrew’s work. This is just the latest of his carefully growing discography. In The AtticTim Siciliano (Primary), Dominic Duval (Primary), Brian Willson (Primary)CIMP has recorded a number of artists making their leadership debuts (and sometimes any kind of recording debut) in their 40s or 50s. Tim Siciliano was 50 when he recorded this disc. While his roots are in the later guitar Bop masters, his mentor was Attila Zoller. Producer Bob Rusch characterized this session as “a good get-together.” Music well worth the 50 year wait. In the hands of these three, it brings new life to the bopstream, swinging and free of cliches. Lonely House (Covers)Tomas Ulrich (Cello), Rolf Sturm (Guitar), Michael Bisio (Bass), Cargo Cult (Primary)Tomas Ulrich's Cargo Cult: certainly one of the definitive string groups of the 21st century and perhaps the most versatile and expansive. This latest release follows up CIMP 375 and Cadence Jazz 1214 with a recording that references a wide range of compositions. The inspirations here range from Leadbelly to Monk. Definitely an enchanting and fun listening experience. Cargo CultTomas Ulrich (Cello), Rolf Sturm (Guitar), Michael Bisio (Bass)Cargo Cult’s first recording (Cadence Jazz Records 1214) was so inspiring, CIMP moved quickly to make this recording. And this recording further inspired CIMP enough to record two more (to be released in the near future) performances by this group. Here is a string trio like you’ve never heard before. Passionate, improvising, beautiful compositions, and soulful delivery. Try this and listen to what the fuss is all about. Pulling StringsMichael Bisio (Bass), Tomas Ulrich (Cello)For years cellist Tomas Ulrich has been electrifying every group he's been a part of and now, finally, steps out as a co-leader. Mike Bisio, the bassist's bassist, makes up the other half. There's no place to hide here as the two essay eight of Mike's compositions, four of Tomas', and one of Dom Minasi's originals. The results of this meeting of two phenomenal players are definitely up to the potential offered and the talent noted. Mountain AirDominic Duval (Bass), Ron Lawrence (Viola), Gregor Huebner (Violin), Tomas Ulrich (Cello)Dominic Duval's String Quartet, previously known as the CT String Quartet, has been around and documented since the mid 1990s. This new edition introduces the extraordinary Gregor Huebner into the violin chair on a program which takes as its inspiration the music of Cecil Taylor's "Mountain Air." Extemporaneous and totally music of the day, yet easily accessible and rooted. The Mystery of Prince LashaPrince Lasha (Saxophone), Odean Pope (Saxophone), Tyrone Brown (Bass), Craig McIver (Drums)Prince Lasha returns to the recording scene. Fifty years ago, the Texas sax man and schoolmate of Ornette Coleman, Dewey Redman, and Charlie Moffett was part of the original cast of new music improvisers. Here he's in the company of Odean Pope and his trio—a formidable group by themselves. As the Producer's Notes encourage, "Enjoy the music and the adjustments it might bring." Recorded April 5, 2005 First, Keep QuietStephen Gauci (Saxophone), Todd Nicholson (Bass), Jeremy Carlstedt (Drums)Already heralded as a new and exciting voice, tenor saxist Stephen Gauci is front and center with compositions, concepts, and executions that, if nothing else, are clearly not the same old same old. There are lots of "new" names out there - this is one worth hearing. You have our word. Recorded March 3 & 4, 2005 Not Just...David Taylor (Trombone), Steve Swell (Trombone), Billy Bang (Violin), Tomas Ulrich (Cello), Ken Filiano (Bass)Gad. Two trombones and strings! But when the trombones are Dave Taylor and Steve Swell and the strings are Bang, Ulrich, and Filiano, you know this is going to be fun. A five-sided circle that is everything you'd expect from this meeting of fertile musical minds. Over 270 cumulative years in the making, its listening pleasures should last easily that long. Recorded January 5 & 6, 2005. BloodScott Rosenberg (Tenor), Todd Margasak (Cornet), Kyle Hernandez (Bass), Tim Daisy (Drums)This quartet debuted in 1999 (Cadence Jazz Records 1135) and this second recording updates its intricate and unpredictable music. Here is a classic pianoless quartet that can evoke a sense of Ornette & Don Cherry with a slight essence of Chet in the mix. But the 9 non-traditional compositions give these musical talents plenty of space to exercise their own post Bop personalities. Recorded May 10 & 11, 2004. BloodScott Rosenberg (Tenor), Todd Margasak (Cornet), Kyle Hernandez (Bass), Tim Daisy (Drums)This quartet debuted in 1999 (Cadence Jazz Records 1135) and this second recording updates its intricate and unpredictable music. Here is a classic pianoless quartet that can evoke a sense of Ornette & Don Cherry with a slight essence of Chet in the mix. But the 9 non-traditional compositions give these musical talents plenty of space to exercise their own post Bop personalities. Recorded May 10 & 11, 2004. Two DreamsOdean Pope (Tenor Sax), Carl Grubbs (Alto Sax), Tyrone Brown (Bass), Craig McIver (Drums)Odean Pope is a master, arguably one of a handful of great tenor saxists on the scene today. Always up for the challenge, there is nothing casual or throwawy on a Pope/CIMP encounter and this one is no exception. Hard, thoughtful, and clearly defined, this is classic Bop of the post Bop era. Recorded January 22, 2004. Celebration of the SpiritJazz Composers Alliance Orchestra (Group), Hiroaki Honshuku (Flute), Jims Hobbs (Alto Sax), Jeremy Udden (Alto Sax), Phil Scarff (Tenor&Soprano Sax), Hands Indigo (Bari Sax), Mike Peipman (Trumpet), Keiichi Hashimoto (Trumpet), Jim Mosher (French Horn), Bob Pilkington (Trombone), David Harris (Trombone), Jim Gray (Tuba), Richie Barshay (Drums), Winnien Dahlgren (Vibes), Soo-Jung Kae (Piano), Takaaki Masuko (Percussion), Rick McLaughlin (Bass), Norma Zocher (Guitar), Laura Andel (Composer/Conductor), Darrell Katz (Composer/conductor, dir. of Jazz Compose), Ken Schaphorst (Composer/Conductor), Warren Senders (Composer/Conductor)Here is an incredible combination: a big band full of exciting soloists playing the compositions of 5 composers recorded in real stereo, the CIMP way - with clarity, space and accurate dynamics. Everything about this recording will excite. You'll have to hear it to believe it. Recorded at The Tsai Performance Center at Boston University, Boston, MA October 5, 2003. ConscriptionTom Abbs (Bass, Tuba), Brain Settles (Tenor Sax, Flute), Okkyung Lee (Cello), Chad Taylor (Drums, Vibes)Form and finesse are what this music exposed. Tom Abbs is becoming a force in the NYC area, but his talents are on a world scale. As this recording demonstrates, even at the beginning of a career, Tom Abbs is producing distinctive music. Recorded April 21 & 22, 2003, Rossie, NY.
JourneyTrio X (Group), Joe McPhee (Alto and Tenor Saxophones), Dominic Duval (Bass), Jay Rosen (Drums)Every Trio-X recording is different and an occasion for anticipation as to where these 3 creative forces will journey. Their 5th release, this is only the second in studio. And when the studio is the acclaimed Spirit Room, you know you’re going to hear the richness of the instruments and the subtleties of dynamic interplay at its best. A goody from a group acclaimed by one critic as the more dynamic combo in creative improvised music today. Recorded February 6 & 7, 2003.
The PilgrimageAndrew Lamb (Tenor Saxophone, Mismaar), Tom Abbs (Bass, Tuba), Andrei Strobert (Drums)Andrew Lamb has one of the more nontraditional approaches to this music. Perhaps it’s the influence of Kalaparush, one of his teachers. Born in 1958, this is just Andrew’s second release, and it’s a finely measured set: 10 originals that will engage the rhythms of both your mind and body. Discover this fine saxman on this meaty outing. Recorded January 20 & 21, 2003. The Dream Catcher (for Wilber Morris)Kevin Norton (Drums, Vibes), Roy Campbell (Trumpet, Flugelhorn), Thomas Ulrich (Cello), Hill Greene (Bass)Four master improvisers meet to pay tribute to Wilber Morris on a set of exceptional originals by Kevin Norton and Wilber Morris. Mellow and lyrical/hard-blowing and lyrical, this is a heart-felt and musically memorable set of music for brass, strings, and percussion. A date with real definition. Recorded January 6 & 7, 2003, The Spirit Room, Rossie, NY. Opportunities and AdvantagesElliot Levin (Tenor Saxophone, Curved Soprano, Flute), Marshall Allen (Clarinet, Alto Saxophone), Tyrone Hill (Trombone), Howard Cooper (Bass), Ed Watkins (Drums)Check out that front line. Levin: one of the most robust tenor stylists around. Allen: the legendary sax man whose short-circuited improvisations are too infrequently featured in small combos. Hill: an inventive lyrical trombonist with a distinct sound. Put them together with longtime buddies Cooper and Watkins and you have simpatico and a fun date. Real music, warm and challenging. Philadelphia Pride indeed! Recorded September 24 & 25, 2002, The Spirit Room, Rossie, NY.
Poets of the NowUrsel Schlicht (Piano), Steve Swell (Trombone), Tom Abbs (Bass), Geoff Mann (Drums)For Schlicht and Swell, this is a follow-up to their very exciting Sound Quest recording on Cadence Jazz Records. Here the group moves more into composed structures with Ms. Schlicht, in particular, showing a softer side. But make no mistakes - this is post-Bop creative improvised music, and yet another fresh look at Steve Swell whose growing reputation is finally catching up to his talents. Form, variety, and passion combine here for meaty listening. Recorded July 18, 2002. AxiomJohn O'Gallagher (Alto Saxophone), Tony Malaby (Tenor Saxophone), John Hebert (Bass), Jeff Williams (Drums)The John O'Gallagher Quartet. Yet another debut by an artist with notable instrumental and compositional talents. Over a year in preparation, this session was recorded at the end of a short tour by the group and is notable for the connectedness of the 2-sax frontline and the group as a whole. With liner notes that clearly illuminate the chronology and background of the session, it's a fine companion to music that is both muscular and, at times, hauntingly beautiful. Fresh faces, fresh music. Standards&InsightsT.J. Graham (Vocals), Rory Stuart (Guitar)Here’s something for the lovers of standards and vocals: T.J. Graham, backed only by the sensitive artistry of guitarist Rory Stuart. It takes guts to record a vocal record with our audiophile demands: there’s no place to hide, no “fix” in the mix. Recorded July 23 and 24, 2001. RecitalDave Burrell (Piano), Tyrone Brown (Bass)Certainly one of Dave Burrell's finest recordings, a notable mix of standards and originals including an unforgettable essay on Shortnin' Bread. Recorded August 9, 2000. Rosella: A Good Place to StartRosella Washington (Vocals), Tyrone Brown (Bass), Bill Meek (Percussion)17 cuts put it all together and you have A Good Place To Start. Rosella Washington is blessed with a rich and emotive voice and she has the ability to make a song her own. Tyrone Brown is a lyrical, soulful bassist. Together they celebrate the music of Gershwin, Jobim, Strayhorn, Shorter, Rollins, Kern, and others. With Bill Meek adds percussion on 2 tunes. Recorded May 9 & 10, 2000. TagYuko Fujiyama (Piano), Mark Feldman (Violin), Tomas Ulrich (Cello)The debut disc for this fine pianist, Yuko Fujiyama, finds her in the company of Mark Feldman (violin) and Tomas Ulrich (cello) in a stunning program of improvised music bridging the traditional worlds of North American and European New Music. Recorded June 16, 1998. 3 Plus 4 Equals 5Joseph Scianni (Piano), Mark Whitecage (Soprano Saxophone), Tomas Ulrich (Cello), Dominic Duval (Bass), Jay Rosen (Drums)Mark Whitecage has been a highly respected and inordinately creative NYC area improvisor for decades. Joseph Scianni is a legendary pianist almost unrecorded over the past 40 years. On this program they intermix their respective groups and explore the harmonies and tonalities of the music. The listening rewards are great as they fly without a net, with only their genius and musical sensibilities to support them. Recorded June 20, 1997.