#The 3Dom Factor

[jazzdailyblog]

Barry Altschul: A Journey Through the Rhythms of Avant-Garde Jazz

Introduction: Barry Altschul, a drummer whose name is synonymous with innovation and virtuosity, has left an indelible mark on jazz through his extensive career spanning over five decades. Known for his versatility, creativity, and profound contributions to the avant-garde jazz movement, Altschul’s story is one of relentless exploration and collaboration. From his early days in New York City to…

[diyeipetea]

HDO 532: Garner, Schweizer, Drake, Altschul, MacDonald, Reeves. Directos variados... la variedad del directo [Podcast de jazz] Por Pachi Tapiz

HDO 532: Garner, Schweizer, Drake, Altschul, MacDonald, Reeves. Directos variados… la variedad del directo [Podcast de jazz] Por Pachi Tapiz

Directos variados en la entrega 532 de HDO, Hablando de Oídas, registrados en las décadas de los años 50 y 60 del pasado siglo, así como en el siglo XXI, y publicados en los últimos meses. Irène Schweizer – Hamid Drake: Celebration (Intakt, 2021) Barry Altschul’s 3Dom Factor: Long Tall Sunshine (NotTwo, 2021) Erroll Garner: Symphony Hall Concert (Mack Avenue, 2021) Scott Reeves Quintet: The…

[dustedmagazine]

Barry Altschul’s The 3dom Factor – Live in Krakow (Not Two)

Third in a loose trilogy of recordings, Live in Krakow captures drummer Barry Altschul’s cooperative with saxophonist Jon Irabagon and bassist Joe Fonda in their collective element. The pick of venue was far from arbitrary, as Alchemia is arguably the place in the titular Polish city for quality free jazz concerts and has been for quite some time. Representing three generations of players, Altschul and his colleagues seem to recognize the special ambiance of the environs with a fifty-minute set sharply attuned to audience engagement and appreciation. Recording fidelity isn’t quite pristine, but what it relinquishes in clarity it more than compensates for in inviting verisimilitude.

The set list comprises four Altschul originals and a jocular cover of Thelonious Monk’s “Ask Me Now” that interpolates the angular harmonic intricacies of the original to mutually winsome effect. Prefaced by applause, the opening “Martin’s Stew” sounds as if it might have been preceded by music. Altschul occupies the initial minutes alone, constructing a dramatic solo from busy cymbal, snare and rim strikes that preserve clarity and spatial depth at varying metric speeds. Fonda’s amplified bass enters with the coiled energy of a trampoline spring and Irabagon’s toothsome tenor takes figurative wing soon after in what becomes a churning three-pointed phalanx of freebop forcefulness.

Lurching rhythms and sauntering asides bring a colorful levity to the Monk venture while priming both band and crowd for Altschul’s textured tribute to several of his formative mentors on the hard-swinging “For Papa Joe, Klook, and Philly Too”. Irabagon’s sanguine tenor on the former piece brings the late Joe Henderson to mind in the balance between breezy ease and brawny force that characterizes his forefront and peripheral contributions. Altschul brushes are a swishing constant and trace a similar gamut between strength and poise while his sticks on the paean piece whip up a roiling wall of rhythmic froth for Irabagon’s reed to surf and carve at will. Fonda gets a passel of good licks in too, particularly in a spotlight that further breaks up the metric parameters of the piece with an enterprising pizzicato improvisation.

The ballad “Irina” and an extended energetic foray forwarded on the band’s eponymous theme close the concert. Irabagon flips romance switch for a delicate unison theme statement on the latter before capping his reed and deferring to Fonda, who once again sidesteps the corpulent aspect of his amplification for a solo steeped in lucidity and beauty. The swap of tenor for sopranino that marks the reedist’s mid-piece statement breaks the spell a bit with an intonation tacked more to the thinly nasal than the buttery brawn of before, but Irabagon largely makes it work in spite of the qualitative differential. A steady string of overlapping polyrhythms and elastic bass accompaniment do their share of shoring things up as well.

Altschul’s storied history in the music is enduring and varied from formative associations in the employ of Chick Corea and Anthony Braxton through periodic opportunities leading groups in the company of prestigious comrades like Gary Peacock, Pepper Adams and Billy Bang. With Irabagon and Fonda he’s found partners on par with past peers, willing to embrace freedom without renouncing coherence and structure and most importantly remaining true to a reciprocal means of expression. The condition contained in the band’s shorthand moniker is no casual or erroneous claim.

Derek Taylor

[jamesgambleposts-blog]

3D Printer Filaments Market Analysis & Recent Developments, Share, Revenue & Forecast from 2020-2025

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[podilatokafe]

Barry Altschul featuring Jon Irabagon & Joe Fonda: The 3Dom Factor: Live in Krakow

Barry Altschul featuring Jon Irabagon & Joe Fonda: The 3Dom Factor: Live in Krakow

Barry Altschul featuring Jon Irabagon & Joe Fonda: The 3Dom Factor: Live in Krakow jazz review by Karl Ackermann, published on October 3, 2017. Find thousands reviews at All About Jazz! Πηγή: Barry Altschul featuring Jon Irabagon & Joe Fonda: The 3Dom Factor: Live in Krakow  

[mastcomm]

12 Pop, Rock and Jazz Concerts to Check Out in N.Y.C. This Weekend

AGUAS TRIO at Birdland (through Feb. 22, 8:30 and 11 p.m.). Somewhere between the hypnosis of New Age, the grounded wisdom of folk songs and the chancy interplay of jazz improvisation, you’ll find the Aguas Trio. It is a collaboration between the Cuban pianist Omar Sosa, the Cuban violinist and vocalist Yilian Cañizares and the Venezuelan percussionist Gustavo Ovalles, and it lives by its namesake: The trio’s cool, gliding music is meant to evoke the spirit of Oshun, the deity of love and mistress of the rivers in Cuba’s Lucumí tradition. 212-581-3080, birdlandjazz.com

CURTIS BROTHERS at the Jazz Gallery (Feb. 27, 7:30 and 9:30 p.m.). Over the past decade, Zaccai Curtis, a pianist, and Luques Curtis, a bassist, have become a bridge between jazz’s older generations and their own (the brothers are in their mid-to-late 30s), and between Latin and straight-ahead jazz. They have served as side musicians for some of the music’s most respected figures — from Eddie Palmieri to Orrin Evans to Jerry and Andy Gonzalez — and they also run a label, Truth Revolution Records, devoted to elevating underappreciated musicians in the generation above them, as well as younger artists on the rise. The brothers themselves recently released a potent new album, “Algorithm,” full of sharp, driving postbop; they will likely play some of that material here, joined by Nick Biello on saxophone, Josh Lawrence on trumpet and Mark Whitfield Jr. on drums. 646-494-3625, jazzgallery.nyc

FATOUMATA DIAWARA at the Town Hall (Feb. 21, 8 p.m.). With a rich alto and a vivacious presence onstage, this Malian singer, songwriter, guitarist and actress has become one of West Africa’s most exciting young musical exponents. She has collaborated with elder Malian musicians like Amadou & Mariam as well as her creative peers from around the world, like the Cuban pianist Roberto Fonseca. Her most recent album, the Grammy-nominated “Fenfo,” from 2018, was hailed for its mix of Malian tradition, Afropop and Southern blues. At the Town Hall, Gaby Moreno, a Guatemalan-born singer-songwriter who folds together the influences of jazz, soul and folk, will perform an opening set. 212-997-6661, thetownhall.org

JON IRABAGON at the Stone (Feb. 25-29, 8:30 p.m.). Among the most preternaturally gifted saxophonists working today, Irabagon puts few limits on his expression. He’s as likely to blow a startlingly swinging chorus over a jazz standard as he is to unleash a searing blast of sound over a dissolute, free-jazz backing. Here he presents five different projects in as many nights, including 3Dom Factor, an inside-outside group helmed by the elder drummer Barry Altschul, on Tuesday; and a quartet featuring Matt Mitchell on piano, Chris Lightcap on bass and Dan Weiss on drums, on Feb. 28. thestonenyc.com

FRANCISCO MELA at Zinc Bar (Feb. 22, 7:30 and 9 p.m.). A Cuban-born drummer, Mela has a deep grounding in Afro-Caribbean percussion tradition — and a hunger to explore the outer limits of a drum set’s capabilities, often by playing with an extreme lightness of touch or by letting tempo fade out, giving way to texture. Over more than 20 years in New York, he has accompanied some of the finest bandleaders in jazz, including Joe Lovano and Joanne Brackeen. Particularly since the 2016 release of “Fe,” a remarkable small-group album, he has threatened to become a bandleader himself. Here he appears with the saxophonist Hery Paz, the guitarist Juanma Trujillo and two special guests a generation his senior: the bassist William Parker and the pianist Cooper-Moore. 212-477-9462, zincjazz.com

TRIO 3 at Jazz Standard (Feb. 20-23, 7:30 and 9:30 p.m.). This triumvirate of free-jazz elders has over 150 years of collective experience on the cutting edge of American improvised music. With Oliver Lake on saxophone, Reggie Workman on bass and Andrew Cyrille on drums, this group could easily dazzle on its own, but its preferred format is usually in partnership with a guest pianist. This weekend at Jazz Standard, the trio will appear with a different pianist each night, all of them world-class talents: Vijay Iyer on Thursday, David Virelles on Friday, Marilyn Crispell on Saturday and Jason Moran on Sunday. 212-576-2232, jazzstandard.com GIOVANNI RUSSONELLO

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[jazzismus]

Barry Altschul, "Natal Chart" 

May the force be with you…Barry Altschul - "The 3Dom Factor" (2013): Accessible free spirits. This is an enormously entertaining album bustling with inspiration & creativity for the many. Goodies are delivered in a clockwork fury...By the way, Jon Irabagon and Joe Fonda are simply s-t-u-n-n-i-n-g...Highly Recommended...

[decanting-cerebral]

Listening Notes, Ultra-Brief (Pt. 86)

PICKS

Barry Altschul, The 3Dom Factor     (TUM)

The first solo release in twenty-five years from this perpetually spry septuagenarian drummer finds the onetime Anthony Braxton/Dave Holland/Chick Corea/Sam Rivers/Paul Bley/Billy Bang/etc. associate holding true to the philosophy first espoused back in the heady and fearsome days of Circle - “from ragtime to no time”. With Joe Fonda on bass and MVP Jon Irabagon on tenor sax, the trio hurtles through free bop and balladry, touching on all aspects of Altschul’s long career via the leader’s own compositions plus one frenetic 2.29 Carla Bley sprint. The sense of jazz history is deeply felt yet irrepressibly goofy when need be (as witness the Looney Tune whistles cavorting across “Martin’s Stew” or the funky attention given over to the backbeat on “Papa’s Funkish Dance”). I hear Monk, I hear Ornette, I hear a little Rollins, but I also hear Air - not the French aural wallpaper act, the important Henry Threadgill one. There’s that same devotion to pulse, open space, uproarious swing, high/low, inside/out, fragility juxtaposed against full-throated roar. Consider “Natal Chant,” plucked from the dust of 1977’s You Can’t Name Your Own Tune, here reconfigured as an under-five-minute grand tour of post-New Thing jazz that joyously swings and honks between quick detours into head-down free interplay. It’s positively infectious. 

Dave Douglas, Time Travel    (Green Leaf Music)

Utilizing the same quintet from last year’s Be Still, minus the vocals of Aoife O’Donova and that album’s country/folk atmospherics (neither of which are particularly missed), the peerless trumpeter here makes no bones about his mid-60s Miles Davis obsession. Seven strong originals introduce the perfect backdrop for an understated rhythm section to criss cross between repetitive pulse and deftly shifting tempos. Linda Oh’s careful bass lines and pianist Matt Mitchell’s ethereal chords help anchor “Law Of Historical Memory” for eight hypnotic minutes; drummer Rudy Royston’s fluctuations on “Little Feet” propel a stunning arrangement that leaps between lullaby refrain and quasi-Ayler marching band thematics. And it’s tenor sax second mate Jon Irabagon who proves the standout performer, willing to self-censor his woolier tendencies in the name of straight-ahead virtuosity, a trait he shares with Douglas himself, who would seem at his happiest when slyly updating jazz’s back pages: slowing old bop themes down the better to flip them over each other (“Bridge To Nowhere”), lacing Hank Mobley funk with darker undercurrents and vaguely Latin rhythms (“Garden State”), or simply indulging in big boogie woogie humor throughout the Mingus antics of “Beware Of Doug”. He keeps you on your toes, this Douglas guy.

  NEAR PICKS

Anthony Branker & Word Play, Uppity     (Origin)

That’s Dr. Branker, current Director of Jazz Studies at Princeton, and a once-gifted trumpet player forced to set his horn down after a 1999 aneurysm. Now comfortably ensconced as composer and musical director for this sprawling sextet, Branker helps guide three horns (trumpet, trombone, tenor sax) plus piano/keyboards, electric/acoustic bass, and drums through six relatively brief dispatches. Things begin funky with an all-electric opener hopefully entitled “Let’s Conversate!” before slowly swapping out slap bass for acoustic, and eventually fender rhodes for piano. Thematic concerns include resilience and uplift in the face of bigotry, which might be one reason Trayvon Martin is honored with a smooth (some might say goopy) ballad rather than a funeral pyre or outraged ensemble blow-out. Or perhaps it has nothing to do with uplift - maybe Branker just feels Martin deserves the chance to be remembered as something more than a symbol or martyr. 

Jason Marsalis Vibes Quartet, In A World Of Mallets     (Basin Street Records)

It’s admittedly hard to keep all these Marsalis characters straight, but this is the youngest one, the drummer who only recently switched over to vibraphone (and glockenspiel and marimba and xylophone), and that shift from keeping time to stating melody has proven less of a strain than one might suppose. “Blues For The 29%ers” swings hard, “Ballet Class” impishly quotes Prokofiev, and “The Nice Mailman’s Happy Song To Ann” is everything you’d hope for from the title. Yet this is all so very strategic - detached and cerebral like Milt Jackson at his most removed or Bobby Hutcherson at his most stentorian. And although by now the Marsalis predilection for tilting at windmills should be unsurprising, I’m still trying to unpack what he’s getting at with a song entitled “Blues Can Be Abstract, Too”. Is his target Oliver Nelson or noted Marsalis-baiter Allen Lowe? Truth be told, I prefer either to any generation of Marsalis.

John Medeski, A Different Time     (Masterworks / Okeh)

Solo piano debut from the keyboard linchpin of every Phish fan’s favorite organ trio, this is conceptual from the get go, recorded simply via two microphones picking up plenty of background noise and, most importantly, every squeaky pedal and bodily quiver of the 1925 French Gaveau Medeski swapped his trusty Steinway out for. Nor should prospective listeners seek improvisational flights of fancy - despite the presence of a few on-the-spot creations, these performances more often conjure the mood of a highbrow parlor recital. True, there’s the broad melody of spiritual knock-off “Waiting At The Gate” or the hardly glossed-over chorus in a Willie Nelson cover. Those two numbers are fun, but only twice does Medeski find the perfect balance between severity and serenity, first within the gorgeous and shimmering chords of Charles Gabriel’s “His Eye Is On The Sparrow,” then on the dark and lovely “Luz Marina”. But his concept remains the condition of the piano he plays upon. 

  BOMB

Tommy Flanagan & Jaki Byard, The Magic of 2: Live At Keystone Korner     (Resonance)

This lovingly produced, meticulously documented, previously unreleased recording of two undeniable piano legends with 176 keys at their disposal represents the limits of overkill. Two drummers layer polyrhythms, two bassists bob and weave, two guitarists tussle and tangle, and two or more horns is simply jazz de rigueur. Only those bursting-at-the-seams tenor summits of the 1950s haven’t aged well, either, and two pianists fighting each other for solo space is an activity designed for spectators, not listeners. No doubt much fun was had in the club that night. But don’t look for the magic promised by the album title.

[diyeipetea]

JazzX5#289. Barry Altschul: "Long Tall Sunshine" [Long Tall Sunshine (NotTwo, 2021)] [Minipodcast de jazz] Por Pachi Tapiz

JazzX5#289. Barry Altschul: “Long Tall Sunshine” [Long Tall Sunshine (NotTwo, 2021)] [Minipodcast de jazz] Por Pachi Tapiz

“Long Tall Sunshine” Barry Altschul’s 3Dom Factor: Long Tall Sunshine (NotTwo, 2021) Barry Altschul, Jon Irabagon, Joe Fonda. El tema es una composición de Altschul. En la grabación Jon Irabagon toca los saxos tenor y soprillo, así como el clarinete. © Pachi Tapiz, 2021 JazzX5 es un minipodcast de HDO de la Factoría Tomajazz presentado, editado y producido por Pachi Tapiz. JazzX5 comenzó su…

[diyeipetea]

HDO 334. Hill - Parker, B.Altschul, Mike Reed, C.Pedersen [Podcast]

HDO 334. Hill – Parker, B.Altschul, Mike Reed, C.Pedersen [Podcast]

Cuatro grabaciones suenan en HDO 334, a saber: Barry Altschul The 3Dom Factor featuring Jon Irabagon and Joe Fonda Live In Krakow (Not Two, 2017); Craig Pedersen Quintet (Craig Pedersen, Linsey Wellman, Joel Kerr, Bennett Bedoukian, Eric Thibodeau) Approaching The Absence Of Doing (Mystery & Wonder, 2017); Mike Reed’s Flesh & Bone(Greg Ward, Tim Haldeman, Jason Roebke, Mike Reed, Ben Lamar Gay,…

[podilatokafe]

Republic of Jazz: Barry Altschul & The 3Dom Factor – Live in Krakow (NOT TWO RECORDS 2017) Πηγή: Republic of Jazz: Barry Altschul & The 3Dom Factor - Live in Krakow (NOT TWO RECORDS 2017)

[podilatokafe]

awesome jazz: Barry Altschul’s 3Dom Factor – Tales Of The Unforeseen (2015) Πηγή: awesome jazz: Barry Altschul's 3Dom Factor - Tales Of The Unforeseen (2015)

[podilatokafe]

awesome jazz: Barry Altschul And The 3Dom Factor – Live In Kraków (2017) Πηγή: awesome jazz: Barry Altschul And The 3Dom Factor - Live In Kraków (2017)