“The last three tracks in particular find the group really hitting a galvanizing stride and crafting a series of bracing contrapuntal passages. ‘Instigation Quartet #6’ unfolds as a succession of duets, the first an explosive dialogue between Jordan and Abrams, the next a slow burn from Albert and Drake before moving on to an invigorating ensemble section and roof-raising solo by Jordan. Tenor and trombone converse and cavort in ornate arcs with a level of close confluence complemented by bass and drums. It’s a consensus that carries over into the closer, a collective leap through the indelible finger-snapping groove of Anderson’s ‘The Strut.’”
For the week of March 19, “The Tree on the Mound” by Jeff Albert’s Instigation Quartet was number 6 on the jazz chart on KDHX in St. Louis.
In advance of Jeb Bishop’s 50th Birthday celebration in Chicago, Neil Tesser said some nice things about my appearance at the celebration.
“I’ll recommend any excuse to hear Albert in Chicago. … he shapes the most hyper-expressive trombone techniques into precisely sculpted solos, with a big, powerful tone reminiscent of the old-school tailgaters”
Last weekend’s tour of Texas with the Log Ladies has generated my favorite piece of press ever.
” Oh yea, the Ladies of the Log are playing with Jeff Albert (trombonist): he is kind of a big deal.”
Emphasis added by me.
Here is a link to the interview that Tim Daisy, Josef Butts, and I did on KRVS in Lafayette on June 14. The show is about an hour long, and we are on the second half.
Bill Meyer’s preview, for the Chicago Reader, of the Instigation Quartet gig at the Hideout in Chicago on February 8:
“The Instigation Quartet, one of his most adventurous endeavors, is more an idea than a group; its book is a set of loose verbal and written instructions for improvisers, and at each gig he confronts a different set of musicians with those texts. “
He also snuck in a little review of his advance copy of the new CD:
“… in November he recorded a version with saxophonist Kidd Jordan, drummer Hamid Drake, and bassist Joshua Abrams, who turn his instigations into constantly shifting explorations of mood and texture. Because he had three associates of the late, great Fred Anderson on hand, the resulting album—titled The Tree on the Mound and due sometime this year on French label Rogue Art—also includes a couple of the tenor saxophonist’s tunes. Albert’s solo on Anderson’s “The Strut,” which blends blubbery chatter with bluesy testifying, is an irresistible combination of down-home and far-out.”
I recently discovered that I made the Rising Star Trombone list in the 2011 Downbeat Magazine Critics Poll. It is an honor to be in such good company, and feels good to know that someone has noticed. Thank you.
Click the link above to hear an interview of me by Jonathan Freilich. Jonathan has been doing podcast interviews with New Orleans musicians, and he has a great knack for getting us to say things we didn’t know we knew.
The Advocate (Baton Rouge’s main newspaper) wrote a nice review of our concert on April 4, 2011.
With a little imagination, you could look at the young men and women playing on the stage Monday night at the Manship Theater in Baton Rouge and see any other workaday musicians performing for an audience.
Well, maybe more than a little imagination.
Instead of violins and trumpets, the nine musicians — seven LSU grad students and two LSU professors — were typing on laptop computers, moving objects in front of webcams, manipulating joysticks and waving around wiimote controllers. They even created an instrument called a “gua” — played on an iPad.
Read the entire article here: http://www.2theadvocate.com/news/Music-from-things–you-touch-every-day.html
“Having worked together since 2006 when they hooked up to form Lucky 7s, it was no surprise that the two trombones spent much of the evening hanging on each others coat tails, phrasing as one, veering between seat of the pants counterpoint and raucous support for each other’s solos. New Orleans resident Albert boasted the fuller tone, and brought with him some of his natal cities’ second line sensibilities, while Bishop tended more to the abstract and dissonant. Both took fine features: Bishop’s muted ‘bone on his own ‘Fred’s Gift’ was particularly noteworthy, while Albert tore it up with the plunger mute on ‘Mother Kali’s Children No Cry.’”