Lyn Horton

Lyn Horton


Releasing the Rigor

Published in Concert Reviews
Dipping into the Meetinghouse in Amherst, MA, on a multi-city tour, reedsman Peter Brötzmann and drummer Han Bennink paired up for a performance that projected a dynamic rarely experienced in the music. A hard-edged European mode of improvisation overcame the acoustically alive room.

Tenacity and intensity go hand in hand. Even though such descriptive nouns might imply a network of rules, those rules might also include flexibility fraught with determination and direction. For Brötzmann, the r


Changing the Seasons

Published in Concert Reviews
In a hall that has tripled in size due to the contributions of area jazz enthusiasts, the Vermont Jazz Center hosted The Billy Bang Quartet on a brisk October night at the slippery edge between summer and fall.

The Billy Bang Quartet is a group that knows where it is going. Violinist Bang as leader has cast a musical net over his band mates. Each member plays with the acuity, diligence, bravura and sensibility which characteristics Bang himself possesses. The incomparable energy of


Meditating on Matt

Published in Concert Reviews

No stronger mind-body-spirit nexus exists other than that of meditation. In fact, the essences of all three dissolve into one in the process. The inside becomes the outside, the outside inside. When that becoming is conscious, peace settles. And we and the universe are indistinguishable.

Meditation can assume many forms. For Matthew Shipp, that meditation is playing the piano. Shipp opened the fall season on September 22 at Firehouse 12 in New Haven, CT in a solo performance.


Innocence and wonder allow creativity to flow endlessly, without inhibition. Bill Frisell knows and practices innocence in everything he does. He continually changes his sound in relation to the context in which he places himself. What the listener will hear is always Frisell though, abstractions, melodies, and all. Frisell takes away all preconceptions about his task of making music and resultantly produces a distinctive sound that within its own prescribed limits reveals no bounds.


Helpful to my appreciation of the ICP performance at UMass Amherst was my visual memory of the work of Pieter Bruegel, a 16th century Flemish painter. Although the subject matter explored by this late Renaissance master frequently took a religious or traditional turn, the way in which Bruegel portrayed the figures in his paintings was remarkably cariactural. Leap to the Instant Composers Pool Orchestra. This is a contemporary big band made up of an extraordinary group of musicians led by D
Three solo piano concerts came fast and furiously one week after the other in February to the Northampton, MA, Center for the Arts. Three distinct approaches to the piano made the series both educational and memorable, but also pointed out a characteristic which revealed clarity to the distinction among the three.

Uri Caine was the first of the three soloists. Here is a pianist who goes explosively and voraciously for the piano. The marriage between Caine and the piano is noticeably mech

Trio X has impressed its name on the world of music. Questions were once raised about the meaning of the X, particularly by me. According to American history, the X correlates to the signature of a slave who had no name. For this trio, its name is associated with a definite sound signature. The X has become reflexive, for there is only one Trio X.

In a Sunday afternoon gig arranged by the Arts for Art group at the Clemente Soto Velez Center, Trio X broadened the small stage on which th

Attending this first concert of 2006 was an easy choice for me to make. It was the very idea of the duo performance of David Arner on piano and Michael Bisio on string bass that took me the distance from where I write here to where I could hear them. And the music transcended the miles I traveled.

Arner chooses his musical syntax from an encyclopedic knowledge of the capacity of the keyboard. Bisio rewards the listener with a soft and dedicated approach to the bass st

It is perpetual, the struggle for recognition by Black Americans and all who relate to minority status within this country. The crux of the matter is that minorities long to be heard in their original tongue. It is a means to establish their identity. How often their natural language can be found in their original music, historically the music for which they are known but through which they are not heard, perhaps only taken for granted.

At the last Solos and Duos concert of the UMass/A

Mr. Billy Bang knows nothing but reverence to his violin, the music he makes with it and the inspiration behind the music. He takes nothing for granted. He is in love with his life and how it means to be alive.

The inherent quality of these characteristics were expressed intensely, energetically and with determination when tiny Mr. Bang stood with his violin as a larger than life soloist on a moderately-sized stage in a moderately-sized hall, packed with dedicated listeners who travele