Clean Feed

In just the last few years of working and living in Lisbon, Brazilian saxophonist and composer Alípio Neto has flowered, if you will, as an important force in free jazz. “The Perfume Comes Before the Flower” is evidence that his influence now extends way beyond the borders of Portuguese jazz scene.

You might be surprised to learn of the link between Wynton Marsalis and Anthony Braxton. It, or more accurately “he,” is trombonist Joe Fiedler, a leading practitioner of the multiphonic techniques pioneered by Albert Mangelsdorff and Paul Rutherford. Fiedler has played with Marsalis and Braxton, spokesmen for the radical extremes of an ongoing debate about the course of jazz.

He’s been working since the eighties, but has until now escaped wide recognition. That could be because his home is Cork, Ireland, perhaps near in the heart of Anglo-Saxon culture but hardly a regular stop on the creative music circuit. Now, however, he’s starting to turn heads. In a flurry of activity starting in 2004, the guitarist has established his name in the jazz scene.

Commissioned by the Lisbon Architecture Triennale 2007, “Espaço” is more than a wonderful jazz piano trio record.

You’ve never heard a string quartet like this, that’s for sure. In place of the classical grouping of two violins, viola, and cello that is ubiquitous in chamber music, this improvising string quartet consists of guitar, violin, cello, and double bass. The musicians in this quartet bring with them an almost astoundingly varied set of musical histories.

The music on Dénouement — which was recorded 10 years ago and pressed on Scott Fields’ obscure Geode label — is quite different from his first Clean Feed release, “Beckett.” Although both projects, like virtually all of Fields’ music, intentionally muddle up the written and improvised parts, one is a chamber jazz quartet interpreting word-for-word settings of Samuel Beckett plays while the other i

Bernardo Sassetti is virtually unknown to all but the most fanatical of American jazz fans, though they have almost undoubtedly heard him play -- whether with Curtis Fuller, Benny Golson, Paquito D'Rivera, Eddie Henderson, Andy Sheppard, Freddie Hubbard, Kenny Wheeler, or Guy Barker.

This CD has subtle and inventive music from pianist Bernardo Sassetti. The solo piano performances are mostly Sassetti's originals. Some are sophisticated and accessible enough to possibly be covered by other advanced improvisers, while others are one-chord ruminations.