snobb Albany-born son of Indian Tamil immigrants, Vijay Iyer is with no doubt one of the most celebrated jazz pianists of mid-generation. Starting from the beginning of a New Millennium, his music attracts lot of attention from music critics and listeners both. His early works are less known, and them as a rule have their moments.

"Memorophilia", released in 1994, is Iyer's debut as leader. It was recorded in studio with three different bands, and contains one solo piano track as well. Five of the nine songs come from an all-acoustic trio with bassist Jeff Brock and drummer Brad Hargreaves. The trio's groovy, barenaked songs work pretty well, the album's opener "Relativist's Waltz", recorded by the trio with participation from M-Bass ideologist sax player Steve Coleman, is absolute killer (Coleman participates on one more trio song, "Off The Top", as well).

Two of the album's songs come from Spirit Complex - a more abstract sounding quintet, containing one of the AAMC leaders in trombonist George Lewis and Asian Improv label owner tenor Francis Wong. Both pieces are much freer, than those recorded by the trio, with a lot of trombone improvisation and screaming sax soloing. Poisonous Prophets is a quartet, including the same drummer as Spirit Complex (Elliot Humberto Kavee) and renown electric guitarist Liberty Ellman, among others. The quartet's song is an electric funk with obvious M-Base touch. Iyer's solo piano piece - "Algebra" - is a quite complex blues-based composition.

Compiled with musical compositions of quite different aesthetic, "Memorophilia" sounds surprisingly well as a whole album. Even if on some compositions, the more experienced musicians leave Iyer a bit in a shade, this album is an interesting evidence where from Iyer's current music roots are coming.

snobb Pianist Vijay Iyer is one of the more important figures on the American creative jazz scene for the last two decades. During this time, he built the solid reputation of a precise player who connects Indian roots, jazz tradition and modernity in one, usually unpredictable, complex but accessible mix, attractive for a wide range of listeners. Better known by his solo or small band recordings, his new sextet is a real triumph, probably his highest success till now.

Combining regular jazz trio (with star-drummer Tyshawn Sorey on board) with a brass trio on the front of the sound, Iyer offers a high-energy mini-big band, playing some of his most memorable compositions (all originals). Radically different from Iyers' regular acoustic trios, this new sextet sounds a lot like Miles' early fusion bands, just framed with modern chamber jazz-influenced composition. Iyer himself switches from acoustic piano to Rhodes, on some extended soloing, together with another first-range star - altoist Steve Lehman (who already played with Iyer and Sorey as Fieldwork trio).

To finish the mix, add some hip-hop and funky rhythms, and what you get is an excellent today's jazz album, containing no fillers, and sounding BIG, as revitalizing the times when jazz was really BIG. Almost a masterpiece.

snobb Last year in jazz, heavily influenced by the COVID pandemic, wasn't a regular one. With live gigs and even studio recording sessions being very often unavailable for many, musical market reacted quite soon flooding on-line sales points with tons of vaults material, rehearsal recordings and DIY-level home-made new music, which too often wouldn't be released under normal conditions at all.

There still were released (and still continue to come) some really good albums during these difficult times, renowned American pianist Vijay Iyer's new just released "Uneasy" is one of them.

It is Iyer's second trio album for ECM, the previous one was released in 2015, but the new trio is quite different from the first one. In fact, now we have a super-trio of sort, including one of the brightest creative drummer of the last few years Tyshawn Sorey and growing stylish bassist Linda Oh, who's solo works require a wider introduction, and she's one of the busiest acoustic bassist on today's scene as a collaborator.

From the very first sounds one will note that the new album sounds quite unusual for an ECM release. Recorded at Oktaven Audio Studio in Mount Vernon, NY, it doesn't have that characteristic cool and sterile sound of Oslo's Rainbow studio, or some other European facilities beloved by ECM. The opener, "Children Of Flint", is one of the best compositions on the whole album, with a lot of emotion and even some drama. As almost all the other album's songs, it is an Iyer's original (Gerri Allen’s “Drummer’s Song” and not really impressive version of Cole Porter’s “Night and Day” are the two only non-originals here).

Iyer's own compositions come from different periods of time, some of them have been already recorded on his other albums. Still, here they sound way different. Not as radical as many of Iyer's previous albums, "Uneasy", with its dominating mid-tempo all-acoustic groovy sound and extremely successful balance between post-bop tradition, creativity and modern sound, is possibly one great candidate for being a soundtrack for this last pandemic year - worried, calmer, sad and hopeful. Surprisingly, it was recorded in December 2019, but it anticipates pretty well the atmosphere of changes which came very soon.

Quite accessible, it brings lot of pleasure when listening, one of the very best works already released this year.

snobb Trumpeter Wadada Leo Smith and pianist Vijay Iyer are both brightest representatives of two different jazz generations and ambiences. Smith is one of AACM founders,who played with Anthony Braxton and in late 90's - first decades of new century became one of the leaders (together with Henry Threadgill) of re-vitalized crossover avantgarde jazz releasing series of large-format albums.

Vijay Iyer came to jazz scene in 90s and during next two decades built the reputation of one of leading pianist playing world fusion,avant-garde jazz even mixing both with contemporary classics.

"A Cosmic Rhythm With Each Stroke" is first duo's album. Released on German ECM label,it sounds according to label's standard - sound is crystal clear and emotionally quite cool.

Iyer plays piano, Fender Rhodes and uses some (lap top?) electronics which often sounds like early analogue Moog.

On a mid-tempo compositions Smith's trumpet flies over Iyer's almost chamber piano or,alternatively, electronics bass pulsation weaving unique aerial and meditative in moments aural sculptures where European and Indian classic roots are mixed with American minimalism and avant-garde jazz aesthetics.

If Iyer's few previous works for ECM already prepared listener for such sound, for often massive and even bombastic Smith's music of last decades it's quite unusual turn. Fortunately, all sound perfectly showing more intimate side of Smith's musicianship.

Structurally album contains opener, seven-part suite and the closer, and requires repeated listening. Not a jazz in a traditional sense, but no-one expects too traditional music from such duet. Excellent work, setting up new standards for jazz in contemporary world.

snobb American pianist Vijay Iyer ECM debut opens with "Spellbound And Sacrosanct, Cowrie Shells And The Shimmering Sea" - solo piano composition,coming from his first ever album, released in 1995 (Memorophilia,Asian Improv Records ‎– AIR 0023). But on "Mutations" this song sounds not like free improv, but as well-composed chamber piece. "Vuln,part 2" coming next changes the mood radically - Iyer's piano sounds are walking over deep electronics pulsation more common on ambient or left-field recordings.

Rest of the album is completed with one long suite,composed by Iyer and played by him (on piano and electronics) and strings quartet."Mutations I-X" is perfect title for music presented under that title - mostly pre-composed,it flows changing its form,mood and timbres but staying generally almost the same. All compositions are minimalist,with lot of space and cross-stylistic by their origin. Strings quartet (cello,viola and two violins) sound sometimes chamber,but more often - dark,dissonant or even streetwise(in places their droning recalls "Apocalyptica plays Metallica" aesthetics). Iyer plays very ascetic piano here and there, more often he's a source of different electronic voices and noises.

Main pleasant surprise with "Mutations.." is that being a product of many (and often polar)influences,music here doesn't sound chaotic or eclectic. All techniques and aesthetics are so carefully used that final product sounds as new unity,tasteful,stylish,ambitious and accessible at the same time.

As many cross-genre recordings of similar origin, "Mutations" isn't music for everyone's ear. Jazz purists wouldn't find much jazz here (probably not at all),chamber snobs will be shocked by flippant use of electronics,noise and drones combining it with string quartet's music,but fans of advanced (and very cinematographic,or probably better to say - modern theater soundtrack-like)music will find lot of joy and new ideas here. Excellent Vijay ECM debut - opening label's already a bit conservative doors wider.