snobb After West Coast clarinetist Ben Goldberg in 2009 reformed his old project New Klezmer Trio (with drummer Kenny Wollesen and acoustic bassist Greg Cohen) for his new album, the question when he will touch Zorn's material for his another release became just a question of time. Both Wollensen and Cohen are long time Zorn's collaborators, so no strange their just next release is based on Zorn's Masada material.

Luckily "Baal.." was recorded by quartet, not trio - fourth member this time is NY downtown based pianist Jamie Saft. He added plenty of melodic and rhythmic piano elements to album's music what in combination with strong Zorn's compositions made album really better.

When listening every new Masada's Book Of Angels every new release I believe one could expect to hear almost always quality if a bit predictable mix of klezmer and free-jazz.This album is not an exemption: soulful and melodic klezmer is mixed with free improvs almost 50/50 and the result is predictably attractive. Possibly main moment which makes this release more interesting is Goldberg is one of leading clarinet player nowadays (ok, there are not too many of them on jazz scene), so even more or less know music sound different and more unusual.

In all - not masterpiece,but one more strong Masada's Book Of Angels series' release.

snobb Same year when Goldberg released his electric avant-fusion Go Home, he recorded another quite different album - "Speech Communication". This time he returned to trio format (current band could be counted as re-freshed version of Goldberg's New Klezmer Trio from 90s).

Album is dedicated to two departed Goldberg's friends: Ron Stallings and his father Alvin Goldberg (later is the reason of album's name : "Speech Communication is the name of the academic discipline to which my father, Alvin Goldberg, devoted his intellectual and professional life").

Musically album is quite free form (even bulky in moments)collection of acoustic mostly clarinet-led compositions melting vintage avant-garde jazz tradition and klezemer (differently from Masada, klezmer component in album's music is quite abstract and placed deeply under the skin,you can feel it mostly in some melancholic tunes and clarinet techniques).

All album (differently from many Goldberg's other works) sound a bit sad, too serious and kind of unfocused. Brilliant clarinet solos here and there are more outer attributes, the music often isn't really melted and formed in one sound. During all album's listening I had a feeling that musicians are not in a good contact between each other, there are plenty of cool space and formal musicianship around. And even if there are plenty of short nice moments, album doesn't work as whole one (especially when comparing with excellent collaborative work on other Golberd releases of similar time period).

Still no way bad album, but more release for Goldberg fans. Not best entry album to his music for sure.

snobb Comparing with Goldberg's release from 2006 (" The Door, The Chair, The Hat, The Fact"), this album is different world.Goldberg is known by his love to combine rock-influenced musicians with his own love to jazz from 50s and 60s in his projects, and this one is not an exemption. But this time one of the strongest element of all sound is electric 7-strings guitar of Charlie Hunter (in his teens he learned to play guitar in Berkeley,CA from Joe Satriani as his music teacher,but later turned to jazz and funk).

Scott Amendola plays very relaxed jazzy drums, fourth member of this bass-less quartet is reeds player Ron Miles. Two dominated directions in album's sound is electric guitar mid-tempo quite heavy sound (think about Bill Frisell,playing more heavy and bluesy)and reeds soloing over drummers relaxed rhythms. As usual, with big attention to melodies, music sounds slightly melancholic, but high-energy (almost rock-heavy)electric guitars soloing never let the music sound mellow.And even more - big part of compositions are groovy, even funky!

Four of ten compositions are recorded live and their addition between studio recordings gives even more fresh and informal feeling to all music. Being very different from earlier Goldberg avant-garde acoustic jazz recordings, this album at the same time has his clear and melodic clarinet sound's signature.Just another face of really interesting musician.

snobb Clarinetist Ben Goldberg recorded his "The Door the Hat the Chair the Fact" just a few days after his teacher Steve Lacy passed away, and this release is his tribute. Only one composition is Lacy's though, others are mostly Goldberg's originals.

For this recording Ben formed new original quintet - former Huey Lewis and the News saxophonist Rob Sudduth,drummer Ches Smith (Trevor Dunn's Trio Convulsant) and bassist Devin Hoff (Nels Cline Singers) all came from alternative/avant-rock scene, Tin Hat's violinist Karla Kilhstadt played in that band together with Goldberg.

As a result, album's sound is really fresh and interesting: Goldberg adds strong chamber music (not only jazz,but classic and minimalist) flavor in sound, based on hard bop and swing, two other soloists (Sudduth and Kilhstadt) play mostly free form jazz improvs and at the same time rhythm section builds atmospheric,but heavy and deep vibes. Add strong avant-jazz of late 60s innovative atmosphere and soulful Goldberg melodies, and you can imagine what this album is about: modern avant-jazz,rooted in pre-post bop era,fresh,original,quite accessible and energetic. Rare music nowadays - catch this album, you will believe that avant-jazz golden age isn't just a history!