![]() ![]() There, he played and recorded with alto saxophonists Marion Brown and Noah Howard, pianist Dave Burrell and tenor saxophonists Leandro ‘Gato’ Barbieri and Pharaoh Sanders before eventually settling in an artist’s colony in San Miguel de Allende. Kapp’s restless energy and streetwise lyricism, yen for the blues and supple templates for unfettered expression took him from New Jersey and Staten Island to Berklee College of Music, where he studied with Alan Dawson, and then Lower Manhattan. In recent years, after relocating to Mexico, he’s co-led the standards-rooted Fine Wine Trio with pianist Richard Wyands and bassist Gene Perla, and reunited with alto saxophonist Noah Howard before the latter’s untimely passing. While the cognoscenti may be aware of Kapp’s name as a firebrand in the mid-60s New York free music underground, he didn’t record as a leader back then. Cactus is their first duo recording, a spontaneous set coming on the heels of 2015’s Themes 4 Transmutation, the latter waxed under the drummer’s leadership and featuring Shipp, reedist Ras Moshe and bassist Tyler Mitchell. Decemin Wilmington, DE) are a team that has only recently come together, though their affinity for one another is natural and rewarding. Robert Kaplan on Apin Perth Amboy, NJ) and pianist Matthew Shipp (b. Drummers and pianists have been one core team in this music, going back to the forbears and scions of the modern-jazz era - Buddy Rich and Nat Cole Art Blakey and Herbie Nichols or Thelonious Monk Denis Charles, Sunny Murray and Andrew Cyrille with Taylor - whether the pianist may work percussively or sculpt the music temporally and melodically.ĭrummer Bobby Kapp (b. In Valerie Wilmer’s important socio-political history of the jazz vanguard As Serious As Your Life (Serpent’s Tail Press, 1977), the chapter on pianist Cecil Taylor is subtitled “Eighty-Eight Tuned Drums.” Textually this reference advances the role of the piano in free music as percussive in large part, especially as the chordal and melodic directions taken after Ornette Coleman in the late 1950s often appeared to circumvent the more fixed tonalities of the keyboard.
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