Lyn Horton

Lyn Horton

On Feb. 5, at the Iron Horse, in Northampton, Massachusetts, Lee Konitz, in his trio comprised of Matt Wilson on drums and Dennis Irwin on bass, performed an extended 2 sets: two hours of beautifully basic continuity.

As the trio arrived, slowly the instruments crept up on the platform: Wilson’s drums came first-- set up to the right. Then all the speakers at the front of the stage disappeared. Then the bass arrived and was placed on the left. Even further left of the bass and a little c
For the closing concert of the season of the Boston Creative Music Alliance, at the Institute of Contemporary Art, Joe McPhee and Trio X performed two sets. The members of the Trio are Joe McPhee on brass and reeds, Dominic Duval on electrified string bass and Jay Rosen on drums and percussion.

The Trio began with a blast of abstract sound larger and more aggressive than can be imagined coming from three musicians. McPhee had his tenor; he stood in the middle of the slick black stage. Du
On last Monday night, at the Iron Horse Music Hall in Northampton, MA, Branford Marsalis performed with his quartet: Jeff "Tain" Watts on drums, Eric Revis on bass and Joey Calderazzo on piano. Marsalis played both the soprano and tenor saxes.

It is not surprising that the hall was packed to hear this quartet. The Marsalis name is almost like a magnet to listeners. I attended because I wanted to hear Branford, whom I believe has an edge to his playing that puts him in a category other th

The Greatest Groove

Published in Concert Reviews
On Saturday, the 14th of September, The Fire in the Valley Festival in collaboration with the Boston Creative Music Alliance moved to the Institute of Contemporary Art Theater venue where over a dozen musicians collected in five groups took to the stage to perform from their hearts, their minds, their souls.

I must have taken 50 pages of notes, sequenced with arrows & lines & drawings & words intended to coalesce my experience of six hours of music so that I could write a coherent, truth

Hearing Voices

Published in Concert Reviews
Drummer Ben Karetnick artfully drew together a quartet of seemingly out of balance proportions: the members of the group could be described with a graph that measured hyperbolic waves of maturity and experience of each individual. Joe McPhee played tenor & soprano saxes and pocket trumpet; Cliff White, a player from the Western Massachusetts area, was on alto & tenor; Joe Fonda, who has worked with Anthony Braxton among numerous other musicians, was on amplified double bass, and Karetnick, also

Crossing Thresholds

Published in Concert Reviews
A trio of musicians, Matthew Shipp on piano, Rob Brown on alto sax, flute, and clarinet, and Warren Smith on drums, excited the air on a stagnantly humid summer night at the Vermont Jazz Center in Brattleboro, Vermont.

The group played two sets. Although the ornamentation in each was different, particularly with the change in reeds, both manifested serious dedication to the pursuit of resolving musical ideas. The truth simply put is that these three musicians are relentless. Each member
The performance put on at MASS MoCA in North Adams, Massachusetts by the group Bang on a Can manifested the pure meaning of the word synergy. This word came into use particularly during the period in the 60’s and 70’s when the design world of Bucky Fuller was in Biblical vogue. A word stemming from biology, "synergy", in the context in which I am applying it, addresses metaphorically how an idea can develop through a collection of elements which when put together create a larger idea or unit tha
On Friday night at the Meetinghouse in Amherst, every seat was filled by those who came to hear Sunny Murray at the helm playing the drums, Alan Silva on bass, Louis Belogenis on tenor, and Sabir Mateen on reeds with second set guest, Raphé Malik on trumpet.

I went to this concert with a totally open mind: interested in listening to musicians I had never heard before in combination particularly aiming at being present for Sunny Murray whose performance frequency is small. Just as I had h
The third of the 2002 revival of Eremite Records’ Meetinghouse Concerts featured Joe McPhee on saxophones and Paul Hession on drums.

The miracle of spring opens the doors for enlivening insights and feelings that lay deep inside me waiting to come out while the clouds and low pressure still hover. Last night’s concert opened those doors. It presented to me the ways in which McPhee is bringing to his playing the foundations which laid the groundwork for his evolution (as is exemplified in
The second in the Magic Triangle Concert Series out of UMass/Amherst brought to the stage the group BREW, featuring Miya Masaoka on Japanese koto and electronics, Reggie Workman on bass, and Gerry Hemingway on percussion.

Ms. Masaoka definitely acted as the controlling mechanism for these two sets of music. Her selection of musicians to join her trio was in some ways academically arrogant. She represented contemporary creative improvised music; Workman was hand-picked to represent the ep