Avant Music News Best of 2018: Part II – Albums of the Year


Avant Music News Best of 2018: Part II – Albums of the Year

To the extent that these lists mean much of anything, here are our favorite recordings of 2018. Many of these albums have been reviewed here at AMN, and such reviews have been linked in the list below.

This year, our list is so lengthy that we broke it into two separate postings. The “best of” is today, and the honorable mentions were yesterday. As usual, let me add the usual disclaimer that this list is incomplete, I have not heard all 2018 releases, and have probably missed a few really good ones. Enjoy.

Like this list? Feel free to peruse previous years’ lists.

Albums of the Year

All Traps on Earth – A Drop of Light
Ari Chersky – Fear Sharpens the Dagger
Philipp Gropper / Philm – Live at Bimhaus
Lauren Redhead – Hearmleoþ-Gieddunga
YAK – Bardo

Best of 2018

4 Airports – 4 Airports
John Luther Adams – Everything That Rises
Ajna – Lucid Intrusion
Albatre – The Fall of the Damned
Anguish – Anguish
Aseptic Void – Ideazione di Contrasto
Steve Ashby & Daniel Barbiero – The Elongated Path
Bangladeafy – Ribboncutter
Big Heart Machine – Big Heart Machine
Bonini Bulga (Pär Boström) – Sealed
Carter / Holmes / Putman / Greene / Ughi – Telepathia Liquida
Chaos Echoes with Mats Gustafsson – Sustain
Josh Charney – Chaos Magic
Common Eider, King Eider – A Wound of Body
Cruel Diagonals – Disambiguation
Death Drag – Shifted
Christi Denton – Meduse
Desiderii Marginis – Vita Arkivet
Alvaro Domene – The Compass
David Dominique – Mask
Evil Genius – Experiments on Human Subjects
Far Corner – Risk
Ghost Flute & Dice – Kropsbygning
Jelena Glasova – The Malady of Death
Jordan Glenn – BEAK
Ross Hammond – Riding Dragons in Winter
Hezaliel – Paradise Lost
Christopher Hoffman – Multifariam
Adam Hopkins – Crickets
Jeton Hoxha – Vowel
Ignite – Ignition (EP)
Ikizukuri – Hexum
Christoph Irniger / Pilgrim – Crosswinds
Jack O’ The Clock – Repetitions of the Old City – II
Pandelis Karayorgis / Damon Smith / E. Rosenthal – Cliff
Reid Karris Group – Ghost Dancers Slay Together
Kiss the Frog – Days of Wrath
Kyoko Kitamura – Protean Labyrinth
Kreysing / Penschuck / Stadlmeier – Re-encypher
Ingrid Laubrock – Contemporary Chaos Practices
The League of Assholes – IM PEACH The Sequel
Lore – Lore EP
Rene Lussier Quintet – Rene Lussier Quintet
Matthew Lux / Communication Arts Quartet – Contra/Fact
Moloch Conpiracy – The Cave of Metaphysical Darkness & Lights
Monolithes – Limites
Michael Moss / Accidental Orchestra – HELIX
William Parker – Lake of Light: Compositions for AquaSonics
Jo Quail – Exsolve
Jo Quail / Hands of Ruin – Hands of Ruin Remixes (Single)
Abbey Rader / West Coast Quartet – Second Gathering
Raison d’Etre – Alchymeia
Alec K. Redfearn & The Eyesores – The Opposite
Robert Rich / Markus Reuter – Flood Expeditions: The Gatherings, 19 May 2018
Stephanie Richards – Fullmoon
Rivener – Rivener
Rent Romus / Life Blood Ensemble – Rogue Star
Devin Sarno – Visitor (Suite)
Shatner’s Bassoon – Disco Erosion
Patrick Shiroishi / Dylan Fujioka / Paco Casanova – Kage Cometa
Shrine – Celestial Fire
Josh Sinton / Predicate Trio – Making Bones
Maryam Sirvan – Untamed Terror
SUSS – Ghost Box
Jennifer Thiessen / Ida Toninato – The Space Between Us
The Thing – Again
Robert Scott Thompson – Phonotopological
Henry Threadgill / 14 or 15 Kestra: AGG – Dirt… And More Dirt
Tunnels of Ah – Charnel Transmissions
Peeter Uuskyla / Tellef Øgrim / Anders Berg – Oslo Hærverk
Visions & Phurpa – Monad
Warren Schoenbright – Excavations
Dan Weiss – Starebaby
Mars Williams – An Ayler Xmas Vol. 2
Gabriel Zucker – Weighting



Rotcod Zzaj, Contemporary Fusion Review, February 27, 2018:


Accidental Orchestra imaginative fresh free jazz Accidental Orchestra – Helix

Share on Facebook
Tweet on Twitter


Accidental Orchestra imaginative fresh free jazz Accidental Orchestra – HELIX:  Michael Moss is a multi-instrumentalist with free-jazz creds that can’t be claimed by many players… he has over 50 years of playing with names like Sam Rivers, Dave Liebman & scores of others who knew him (self-described) as “the farthest-out cat”… strangely enough, you’ll hear snatches of “regular jazz” on tunes like the 2:44 “The Bridge“… it’s still free-form enough, though to qualify as “out enough”.

If it’s etherspace you’re craving for in your listening adventures, you’ll find “Mind Of God” the perfect blend of cool and cacophonous, but be sure and listen to this piece with your headphones on.  The orchestra Michael assembled for this stunning trip is amazing in and of itself… Jason Kao Hwang, Rosi Hertlein, Fung Chern Hwei (violins), Stephanie Griffin (viola), Lenny Mims, Carol Buck (cellos), Steve Swell(trombone), Vincent Chancey (French horn), Waldron Mahdi Ricks (trumpet), Richard Keene (oboe), Elliott Levin (flute, tenor saxophone), Ras Moshe Burnett (soprano and tenor saxophones), Michael Lytle (bass clarinet), Michael Moss (Bb clarinet), Steve Cohn (piano), Billy Stein (guitar), Rick Iannacone (ambient guitar), Larry Roland (string bass), Warren Smith (percussion, vibraphones), Badal Roy (tabla), Chuck Fertal (drums), Michael Wimberly (djembe, African bells and percussion)… over fifteen minutes of far-out fun for all.

The 20:37 “C# or Bb” is not only my choice from this album, it’s also my personal favorite improvised set (yet) in 2018!  All the players in the orchestra challenge the boundaries on this one, & I’ve no doubt that those of you who thrive on music that stimulates creativity (in many different directions at once) will be playing this one over & over & OVER again!

This fantastic album gets a MOST HIGHLY RECOMMENDED from me, with an “EQ” (energy quotient) rating of 4.99.  Get more information, and purchase direct from the artists on Michael’s page for the album.         Rotcod Zzaj

#Accidental #Orchestra #imaginative #fresh #free #jazz


Dee Dee McNeil, Musical Memoirs, February 28, 2018: https://musicalmemoirs.wordpress.com/2018/02/

4th Stream Records

Michael Moss, composer/producer/artistic Director/B flat clarinet; VIOLINS: Jason Kao Hwang, Rosi Hertlein & Fung Chem Hwei; Stephanie Griffin, viola; Lenny Mims & Carol Buck, cellos; Steve Swell, trombone; Vincent Chance, French horn; Waldron Mahdi Ricks, trumpet; Richard Keene, oboe; Elliott Levin, flute/tenor saxophone; Ras Moshe Burnett, soprano & tenor saxophones; Michael Lytle, bass clarinet; Steve Cohn, piano; Billy Stein, guitar; Rick Lannacone, ambient guitar; Larry Roland, string bass; Warren Smith, percussion/vibraphones; Badal Roy, tabla; Chuck Fertal, drums.

If Avant Garde, free-form jazz is your preference, you will enjoy listening to the outer limits of Dr. Michael Moss’s artistic creativity. Michael Moss is a 50-year veteran of the New York “free” jazz scene. He’s a multi-instrumentalist and a composer, Chicago-born. At times, this music reminds me of the Chicago Art Ensemble, except that this production features a twenty-two piece orchestra. The Moss production is all over the place, spewing energy and combining instruments and notes in a unique and often dissonant manner. The title of this album, “Helix,” can mean an object that is three dimensional or a chain of atoms. Certainly, this music evolves like a chain of interpretations described by suites.
He has labeled the first suite of music, “The Old One” (that is Einstein’s name for God) and there are five parts included: “Inception”, “Bridge,” “Qabbala,” “Bardo,” and “The Mind of God.” The final twenty-minute song is titled in all caps, “SEE SHARP OR BE FLAT/C# OR B flat. Thus, on this project, we are introduced to Moss debuting two major compositions.

On “Qabbala” we finally hear some semblance of melody and orthodox structure, with delightful percussion bouncing the production around like a children’s rental, backyard, bounce house. It’s very Middle Eastern influenced and reminds me of some background music you would hear behind the HBO “Homeland” series. “Bardo” exposes a softer side of Michael Moss, using lots of strings and fly-away horns that squeak, moan and groan their messages, reverberating animalism. This is an inimitable project that Moss describes as an initiation into sacred ground. He views it as part of a musical tradition stretching from early ritual over the dead to Bach’s Mass in B Minor. He musically incorporates Native American rites of passage into the spirit world, the Jewish mourner’s Kaddish ceremony and Buddhist funeral rituals into this presentation. I was particularly drawn to the final “SEE SHARP OR BE FLAT” composition that features a provocative violin solo with complimentary string ensemble support. This composition gives more opportunity for individual players to step forward and solo. I found the guitar solo to be outstanding with Warren Smith’s percussion bright and tasty beneath it. Speaking of drums, there is as lengthy and pleasing drum and percussion solo towards the end of this twenty-minute production that is worth the wait. If you have a taste for a project that’s out-of-the-ordinary, the Accidental Orchestra will sooth your palate.


Dawood Kringel, DooBeeDooBeeDoo, March 10, 2018:  http://www.doobeedoobeedoo.info/2018/03/10/cd-reviw-michael-moss-and-the-accidental/

Michael Moss

CD Review: Michael Moss and the Accidental


Michael MossArtist: Michael Moss and the Accidental Orchestra
Titel: Helix
Label: self produced
Genre: contemporary/jazz/modern world

Buy and listen to CD here: https://michaelmoss.bandcamp.com/album/helix

CD Review by Dawoud Kringle

A dissonant, yet strangely colorful and delightful series of chords emerge with a startling intensity. A moment of silence, then the music ambushes the listener with a dense tapestry of chromatic melodies weaving in and out of their own musical ecosystem. instruments jump to the forefront, then slide away to the shadows, to be replaced by other musical entities seeking expression. About halfway into it, a tabla places a simple teental, and without warning, the orchestra merges with it in a Sun Ra-ish swing. Eventually, the bass holds down the groove, and saxophones engage in a serpentine dance, like a fight to the death in a kung fu movie. The bass steps in and brokers peace between the two gladiator, and the percussions, violins, and cello offer their support. Suddenly, a strange chord overshadows them, and the music ends.

This is “Inception;” the first part of the suite ”The Old One” by Michael Moss and the Accidental Orchestra.

A native of Chicago, Illinois, Michael Moss pursued his education in Madison, Wisconsin. After this, Moss became part of the New York jazz scene, a position he held for the past 50 years. Moss has also studied in Thailand, Middle East, Ireland and elsewhere across Europe, East Africa, and other places. A master of multiple reed instruments, and compositions. Moss played with Sam Rivers, Dave Liebman, Paul Bley, Annette Peacock, Elvin Jones, McCoy Tyner, and others. Whether playing in a duo or in an orchestra, Moss knows how to handle himself. His musical inspiration are not limited by genre, culture, or historical period. (He’s also a member of MFM.)

The Accidental Orchestra is comprised of a “Who’s Who” of the New York Improvised Music Scene. Jason Kao Hwang, Rosi Hertlein, Fung Chern Hwei (violins), Stephanie Griffin (viola), Lenny Mims, Carol Buck (cellos), Steve Swell (trombone), Vincent Chancey (french horn), Waldron Mahdi Ricks (trumpet), Richard Keene (oboe), Elliott Levin (flute, tenor saxophone), Ras Moshe Burnett (soprano and tenor saxophones), Michael Lytle (bass clarinet), Michael Moss (Bb clarinet), Steve Cohn (piano), Billy Stein (guitar), Rick Iannacone (ambient guitar), Larry Roland (string bass), Warren Smith (percussion, vibraphones), Badal Roy (tabla), Chuck Fertal (drums) and Michael Wimberly (djembe, african bells and percussion).

“Inception,” and the other parts of “The Old One” (Albert Einstein’s personal name of God) serve as a musical process of initiation into sacred ground. “Bridge” swings, walks, and flows like a rich liquid, as if it is urging you to follow its path. “Qabbala” starts like the surprise one feels when entering a room that one did not expect to contain its wonders. It eventually collects its wits and explores the new environment, assimilating the sights as best it can. “Bardo” takes the emotional content of the previous piece to a place where the entry into the new environment is tainted with fear. This fear is part of an initiation rite that one must master in order to achieve a place in this enlightened realm. Finally, “The Mind of God” articulates the merging with a higher station of being and spirit. Yet with this, one realizes that one’s journey has not ended; it has only begun.

The final track, “See Sharp or Be Flat” Begins with a shout of joy. It’s a jazz expression of an acceptance of all the good and bad things life throws at us.

Free jazz is really hard to play well, and really easy to play badly. To transcend the constant danger of self indulgence and perform music that serves to communicate real ideas and real experiences in service of higher ideals is the sign of a master. Michael Moss and the Accidental Orchestra have accomplished this. I’m reminded somehow of the early 20th century French composer Dane Rudhyar, who treated musical notes as if they were organisms or molecules. Moss cultivates an intricate musical garden, then allows it to run wild, knowing quite well the trajectories each living thing will take.


Ken Waxman, Jazz Word, September 24, 2018:  http://www.jazzword.com/one-review/?id=129714

Michael Moss/Accidental Orchestra

4th Stream Records ERG 10013


Grady Harp, Amazon, April 2, 2018:  https://www.amazon.com/review/RBLR276RJKOF7/ref=pe_1098610_137716200_cm_rv_eml_rv0_rv


Grady HarpTop Contributor: Children’s Books

April 2, 2018

A note from Michael Moss – ‘First let me thank the wonderful musicians who gave me so much inspiration in this project. When I first started thinking about composing a larger work I began searching for ways to gather together people who could realize the concept. Jason Kao Hwang, Carol Buck, and Steve Swell gave me leads to other improvising artists to join musicians with whom I had previously worked with who could interpret the music, solo, and make notes on a page into music, an art form I have dedicated my life to attempting to understand and express. Somehow people could feel their way into it so they accepted the challenge of working on new music with a person new to them. I cannot do more than hint at what intuition and creativity are, even though I wrote my doctoral dissertation on it. The music took me over. I would awaken with new musical ideas emerging from my unconscious, opening a portal so more musical ideas could come streaming in. I wanted every musician to solo—accompanied by fluctuating combinations of orchestral elements with varying colors, shades, and textures. When I began rehearsing the pieces, something else seemed to be hovering in the room that we all felt, and we abandoned petty thinking to honor the emotion of working together on a project bigger than ourselves. There was no personal drama; we all checked our egos at the door. After only three rehearsals we were ready to record the two pieces.

If you as an audience have heard the blues, danced to the beat, you have participated. If you find repose in serious music this will appeal. I am extending an American musical heritage, stretching from Charles Ives, Scott Joplin, Robert Johnson, Fats Waller, Louis Armstrong, Dizzy Gillespie, Cecil Taylor and Anthony Braxton into the future. From the perspective of world music I draw from the fundamental elements of folk music from around the world to structure jazz offshoots by abstracting rhythm, ragas, modes, and instrumentation. The audience I want to reach includes the core of New York based musicians to an audience of New Yorkers and international musicians and fans willing to challenge themselves and their ears in all musical disciplines. My music is part of a history, a tradition. It is big, emotional, and takes you on a journey, an arc of melody, to leave you in another state, better than before, uplifted. We as musicians participate in this daily—we want to share.’

The tracks are THE OLD ONE: Inception, Bridge/Dorje, Qabbala/The Tree of Life, Bardo Thödol/Angels and Devils/Wizards and Deatheaters, The Mind of God/Streaming:Throne of Gold, and See Sharp or Be Flat/C# or Bb

The musicians are Jason Kao Hwang, Rosi Hertlein, Fung Churn Hwei (violins), Stephanie Griffin (viola), Lenny Mims and Carol Buck (cellos), Steve Swell (trombone), Vincent Chancey (French horn), and Waldron Mahdi Ricks (trumpet), Richard Keene (oboe), Elliott Levin (flute, tenor saxophone), Ras Moshe (soprano and tenor saxophones), Michael Lytle (bass clarinet), and myself, Michael Moss (Bb clarinet), Steve Cohn (piano), Billy Stein (guitar), Rick Iannacone (ambient guitar), Larry Roland (string bass), Warren Smith (percussion, vibraphones), Badal Roy (tabla), Chuck Fertal (drums), and Michael Wimberly (djembe, African bells and percussion)

This is a stunning achievement – one that demands our attention. Grady Harp, April 18


Andy Velez, New York City Jazz Record,June 30, 2018: http://www.nycjazzrecord.com/issues/tnycjr201807.pdf

Michael Moss Accidental Orchestra (4th Stream)

by Andrew Vélez


The Accidental Orchestra is the creation of composer/ multi-instrumentalist Michael Moss, who, at 74, is a 50-year veteran of the New York scene. Humorously self-described as “the farthest out cat” and a mainstay of Manhattan’s famed loft jazz scene, he has played with Sam Rivers, McCoy Tyner, Elvin Jones, Paul Bley and Richie Beirach, among many others.

Helix kicks off with “The Old One”, deriving its name from Albert Einstein’s name for God. A five-piece suite and what the composer calls “an initiation into sacred ground”, it is part of a musical tradition stretching from the earliest rituals over the dead to Bach’s Mass in B minor, through to Native American rites of passage into the spirit world, Jewish mourners’ Kaddish and Buddhist funeral rituals. It begins with the oceanic swirls of “Inception”, which quickly expand into a mix of horns and strings that are inscrutably inviting. The suddenness with which a passage can stop is at once mysterious and even ominous.

The second and longer piece is “See Sharp or Be Flat/C# or Bb”, written while Moss was recovering from a fracture suffered tripping over a curb, an event that also gave the group its name. The band swings on this theme, rendering a rich mix of jazz and rhythm and blues. Out of this massive sound machine are whiffs recalling The Beatles’ “Norwegian Wood”, James Brown’s “I Feel Good”, Modern Jazz Quartet’s “Bags’ Groove” and moments of Duke Ellington’s sacred music. Moss embraces all sorts of sounds while allowing space for his players to add to this cosmos of flavors.

At the CD release party last month at the Westbeth Community Center, one’s attention was repeatedly seized by the rattling and rolling of various soloists, though Madeleine Yayodele Nelson on chekeré and djembe was a beaming standout (she is not on the recording). Throughout it all, Moss, either playing Bb clarinet or with arms gracefully outspread, was the lead bird guiding his magnificent flock. There was a palpable sense that the audience was a key part of what was happening. That same sense is evident with repeat hearings of this boundary-stretching music.

For more information, visit michaelmoss.bandcamp.com


Glenn Astarita, All About Jazz, June 7, 2018:  https://www.allaboutjazz.com/helix-michael-moss-4th-stream-records-review-by-glenn-astarita.php

All About Jazz

Michael Moss – Accidental Orchestra: Helix


Michael Moss - Accidental Orchestra: Helix

Veteran New York City-based free jazz acolyte, multi-instrumentalist Michael Moss (Sam Rivers

Sam Rivers
1923 – 2011
saxophone, tenor

” data-original-title=””>Sam Rivers, Elvin Jones

Elvin Jones
1927 – 2004

” data-original-title=””>Elvin Jones, McCoy Tyner

McCoy Tyner

” data-original-title=””>McCoy Tyner) maximizes the talents of his large ensemble via these simmering works designed with organized and loosely articulated dialogues.

The ensemble kicks it off with the swirling and glaring “Inception,” which is also tinted with a world music vibe due to revered tabla artist Badal Roy

Badal Roy

” data-original-title=””>Badal Roy who offsets the flow during the bridge, leading to undulating horns and a loose groove free bop vamp. For the most part, the band paints a frantic scenario amid winding strings, budding arrangements and regimented choruses that morph into the hornists’ ferocious soloing activities.

“Gabbala” is sketched with flourishing melodic content and trumpeter Waldron Mahdi Ricks’ towering lines, paralleled with swelling world music overtones. However, Moss’ diverse compositional frameworks yield an entertaining aura. For example, on “Bardo Thodol,” linear movements are contrasted by Elliot Levin’s searching flute patterns, tempered by calming strings that project a chamber-like subplot, followed by a soothing horn arrangement. However, the ensemble switches gears toward the coda with roughhousing tactics and pianist Steve Cohn’s free-form excursions.

The final track “See Sharp Or Be Flat/C# Or Bb,” reverts to a more conventional setting, as the band gels to a bluesy medium-tempo swing vamp, awash with intense soloing sprees by estimable violinist Jason Kao Hwang

Jason Kao Hwang

” data-original-title=””>Jason Kao Hwangand others. In addition, vibraphonist Warren Smith adds color and tenderness to this somewhat weighty swing fest, tinted with an in-your-face type impetus. In sum, Moss’ astute penchant for melding the outside parameters of jazz with imaginative compositions and a wide-ranging improvisational platform delivers the knockout punch.

Track Listing: Inception; Bridge; Qabbala; Bardo Thodol; The Mind Of God; See Sharp Or Be Flat/C# Or Bb.

Personnel: Jason Kao Hwang: violin; Rosi Hertlein: violin; Fung Chern Hwei: violin; Stephanie Griffin: viola; Lenny Mims: cello; Carol Buck: cello; Steve Swell: trombone; Vincent Chancey: French horn; Waldron Mahdi Ricks: trumpet; Richard Keene: oboe; Elliott Levin: flute, tenor saxophone; Ras Moshe Burnett: soprano and tenor saxophones; Michael Lytle: bass clarinet; Michael Moss: Bb clarinet; Steve Cohn: piano; Billy Stein: guitar; Rick Iannacone: ambient guitar; Larry Roland: string bass; Warren Smith: percussion, vibraphones; Badal Roy: table; Chuck Fertal: drums; Michael Wimberly: djembe, African bells and percussion.

Title: Helix | Year Released: 2018 | Record Label: 4th Stream Records


Troy Dostert, All About Jazz, June 4, 2018:  https://www.allaboutjazz.com/helix-michael-art-moss-fourth-stream-records-review-by-troy-dostert.php

Michael Moss’s Accidental Orchestra: Helix



A longtime contributor to the New York jazz scene whose roots go back to Sam Rivers

Sam Rivers
1923 – 2011
saxophone, tenor

” data-original-title=””>Sam Rivers‘s loft era of the 1970s, clarinetist and composer

” data-original-title=””>Michael Moss has typically worked in a small-group context, especially via his most well-known ensembles, Four Rivers and the New York Free Quartet. But on Helix, he’s got more ambitious goals in mind for his 22-member Accidental Orchestra, both in terms of the scope of the band and the metaphysical concept at its core: namely, “an initiation into sacred ground” through the album’s centerpiece, a five-part, thirty-five-minute suite entitled “The Old One,” which manages to situate large-ensemble free jazz within a variety of world sacred music idioms.

Moss has some top-tier musicians in the current creative jazz scene in his band, with violinist Jason Kao Hwang

Jason Kao Hwang

” data-original-title=””>Jason Kao Hwang, trombonist Steve Swell

Steve Swell

” data-original-title=””>Steve Swell, and percussionists Warren Smith

Warren Smith

” data-original-title=””>Warren Smith and Michael Wimberly

” data-original-title=””>Michael Wimberly likely to be familiar to a lot of avant-garde jazz enthusiasts. And from the opening moments of “The Old One,” a section called “Inception,” the density and immensity of the orchestra’s sound evokes the power of cosmic creation through dissonance and the diverse timbral possibilities of the instrumentation on hand. Creative percussive effects merge with the massed strings, horns and reeds to produce a glorious noise—although not in a way that allows the listener to settle into a particular musical theme, as various melodic and rhythmic fragments come and go fleetingly, somehow deriving order (just barely) from chaos.

The group has plenty of collective orchestral power, yet there are also moments for smaller assemblages within the group to find their voice, as at the end of “Inception,” where saxophonists

” data-original-title=””>Ras Moshe Burnett and

” data-original-title=””>Elliot Levinget a chance to tear it up after a cacophonous burst of free-jazz groove anchored by pianist Steve Cohn

” data-original-title=””>Steve Cohn, bassist Larry Roland

” data-original-title=””>Larry Roland and drummer

” data-original-title=””>Chuck Fertal, all of whom work with Moss in the New York Free Quartet. Tabla player Badal Roy

Badal Roy

” data-original-title=””>Badal Roy initiates his own groove-based mood on “Bridge,” the second segment, and a rich, bluesy sound is achieved on “Tree of Life,” where the strings are particularly effective in giving the track a kind of avant-soul-jazz aspect. The most effective moments are to be found in the closing segment of the suite, “Mind of God,” in which it is revealed that God apparently has quite a penchant for impassioned improvisation, as the group’s thick tapestry of sound makes room for scintillating solos from Levin (on flute), Burnett (on soprano sax), and Moss (on clarinet).

The remainder of the album is a shorter piece, “See Sharp or Be Flat/C# or Bb,” which is incidentally the inspiration behind the group’s name, as it was written while Moss was recuperating from a fall over a curb. This is Moss at his jazziest, with the rhythm section in steady swing mode for most of the suite, making ample opportunities for a variety of soloists to offer their individual contributions. If it’s not quite as stirring or provocative as “The Old One,” it does allow the members of the group to draw from their jazz backgrounds in a convincing toe-tapping spirit. And it also showcases more of Moss’s panoramic stylistic palette, with strains of Lennon and McCartney’s “Norwegian Wood” and Milt Jackson

Milt Jackson
1923 – 1999

” data-original-title=””>Milt Jackson‘s “Bags’ Groove” making occasional appearances.

While it won’t be accessible to everyone, Moss has a fine group of colleagues on Helix, and this challenging, heady music offers plenty of bracing energy and emotional depth for adventurous listeners.


Track Listing: The Old One (I: Inception; II: Bridge; III: Qabbala; IV: Bardo Thödol; V: The Mind of God); See Sharp or Be Flat/C# or Bb.

Personnel: Michael Moss: composer and director, B-flat clarinet; Jason Kao Hwang, Rosi Hertlein, Fung Chem Hwei: violins; Stephanie Griffin: viola; Lenny Mims, Carol Buck: cellos; Steve Swell: trombone; Vincent Chancey: French horn; Waldron Mahdi Ricks: trumpet; Richard Keene: oboe; Elliot Levin: flute, tenor saxophone; Ras Moshe Burnett: soprano and tenor saxophones; Michael Lytle: bass clarinet; Steve Cohn: piano; Billy Stein: guitar; Rick Iannacone: ambient guitar; Larry Roland: string bass; Warren Smith: percussion, vibraphones; Badal Roy: tabla; Chuck Fertal: drums; Michael Wimberly: djembe, African bells, percussion.

Title: Helix | Year Released: 2018 | Record Label: Fourth Stream Records

Filipe Freitas,Jazz Trail,May 29, 2018:


Label: Self produced, 2018

Personnel includes – Michael Moss: clarinet, composition, arrangement; Michael Lytle: bass clarinet; Jason Kao Hwang: violin; Steve Swell: trombone; Waldron Mahdi Ricks: trumpet; Richard Keene: oboe; Vincent Chancey: french horn; Elliott Levin: saxophone, flute; Ras Moshe Burnett: tenor and soprano saxophones; Steve Cohn: piano; Billy Stein: guitar; Larry Roland: bass; Warren Smith: percussion; Michael Wimberly: percussion; Chuck Fertal: drums; and more.


Michael Moss is a multi-instrumentalist, composer, and arranger that has been an assiduous presence in the New York’s free and avant-garde panoramas. His new album, Helix, comprises a 36-minute, 5-part suite and a separate composition that runs for more than 20 minutes. To accomplish this work, Moss gathered a 22-piece new ensemble, the Accidental Orchestra. The band includes respected bandleaders and improvisers such as violinist Jason Kao Hwang, trombonist Steve Swell, hornist Vincent Chancey, and saxophonist Elliott Levin, who doubles on flute. Pianist Steve Cohn and guitarist Billy Stein have a hand in texture and bring occasional harmonic color, while the robust rhythmic foundation is established by Larry Roland on bass, Warren Smith and Michael Wimberly on percussion, and Chuck Fertal on drums.

The Old One suite, influenced by several ritualistic practices from different parts of the world, opens with “Inception”, giving you a good idea of what is coming next. Its extravagant textures sometimes feel light, perceptible and explicit, while other times feel massive, dense and knotty.

Bridge” evokes the stratospheric Afro explorations of Sun Ra, especially through the actions of piano, vibraphone and drums, whereas “Qabbala” pairs off violins and horns, with guitar and piano fortifying the athletic raids of bass and percussion.

The fourth part, “Bardo” brings mysterious tones through a whimsical combination of highly contrasting pitched sounds. As the time passes, the interactions get inflated, taking proportions of a loud crescendo.

The suite comes to an end with “The Mind of God”, whose duration extends for almost 16 minutes without getting us tired. A shuffling rhythmic cadence looks for a desperate flute dissertation adorned with chamber fills. After a few exciting runs from the oboe, there’s an atmospheric passage made of clarinet over a controlled guitar. However, it’s Steve Cohn’s piano that brings forth that jazz glow we were waiting for. The ride ends up in a concordant chamber jazz feast.

Closing out the record, we have a spiritual, swinging, celebratory piece, “See Sharp Or Be Flat/C# or Bb”, which is probably the most accessible due to a less number of collisions and intersections. Freely blending tradition and modernity, this composition, written when Moss was recovering from a fracture resultant from tripping over a curb, features numerous improvisers whose discourses are separated by suspenseful bridging passages. A blazing percussion discussion is reserved for the end.

Michael Moss works the orchestral dynamics with passion and Helix becomes less intricate and more intelligible as the record is played over and over.

        Grade BFavorite Tracks:  02 – Bridge ► 05 – The Mind of God ► 06 – See Sharp Or Be Flat/C# or Bb


George W. Harris, Jazz Weekly, May 24, 2018:


FREE AND OUTSIDE…Tania Chen: John Cage Electronic Music for Piano, Hall/Koening/Idzerda: Three Way Conversations, Michael Moss’s Accidental Orchestra: Helix

Is there sheet music for these albums?

Composer Michael Moss brings along his Bb clarinet to join with his 22 piece orchestra that is filled with strings and woodwinds, horns and a rhythm team. The 5 pieces “The Old One” is a freewheeling affair with cacophonous swirls, atonal horns and eerie moods supplemented with percussion that veers towards an avalanche. A one part “See Sharp or Be Flat” has twenty minutes of loose orchestrations, giving way to some swinging guitar by Billy Stein that veers through the traffic like a Toyota Tacoma.



Ron J. Pelletier, Jazz From Gallery 41, PO Box 8415, Berkeley, CA 94707, 510-528-0326

HELIX, is powerful, amazing, unique, genuinely creative music.

If it weren’t 3,000 miles away from where I sit typing this, I would love to be at this concert.

Ron J. Pelletier

Rosi Hertlein (violin), Melanie Dyer and Stephanie Griffin (viola), Lenny Mims and George Crotty (cello), Elliot Levin (flute, tenor sax), Richard Keene (oboe, Eb sopranino clarinet), Michael Moss (Bb clarinet), Michael Lytle (bass clarinet), Ras Moshe Burnett (soprano and tenor sax), Brian Groder (trumpet), Peter Zummo (trombone), Libby Schwartz (french horn), Dom Minasi (guitar), Steve Cohn (piano), Larry Roland and Ken Filiano (bass), Warren Smith (drums, vibraphone, African bells), Bob Meyer (drums, percussion), Madeleine Yayodele Nelson (shekere, djembe).


Scott Yanow, Jazziz, Fall 2018: https://cloud.3dissue.net/5932/5906/5906/3836/index.html?

Michael Moss’ Accidental Orchestra is not your grandparents’–or even your parents’ –big band.  Helmed by the veteran avant-garde reedist and composer, the ensemble comprises trumpet, trombone, French horn, oboe, four reeds (including Moss’ clarinet), piano, two guitars, bass, drums, tabla, two percussionists and six strings.  Their recording, Helix(Fourth Stream), showcases Moss’ five-part suite “The Old One” and the 20-minute “See Sharp or Be Flat/C# or Bb.” An awful lot happens simultaneously in Moss’ music–particularly during “The Old One”–with the emphasis on dense ensembles that are both written-out and freely improvised. Occasionally, a lead voice surfaces or briefly solos, but the focus remains on dissonant sounds created by the full band.  “See Sharp” is the more accessible performance, although it too is quite crowded. Fleeting solos from trombonist Steve Swell, tenor saxophonist Elliott Levin, pianist Steve Cohn and French horn player Vincent Chancey punctuate the proceedings but it is the force and power of the often-wild ensembles that are most memorable.

Chris Spector, Midwest Record, February 20, 2018:   http://midwestrecord.com/MWR1327.html

MICHAEL MOSS/Helix:The loft jazz mainstay puts together an Accidental Orchestra, in which the gang is all here, and sets out for places only hinted at in “Metal Machine Music’.Using Einstein’s name for God as the jumping off point, I’ll bet this how things sound in heaven when Metatron dawdles over a second cup of coffee.

CHRIS SPECTOR, Editor and Publisher


DMG Newsletter for Friday, October 26th, 2018

Bruce Gallenter, Downtown Music Gallery, October 26th, 2018:


MICHAEL MOSS ACCIDENTAL ORCHESTRA With ELLIOTT LEVIN / MICHAEL LYTLE / RICK IANNICONE / STEVE COHN / RICHARD KEENE / JASON HWANG / LARRY ROLAND / BILY STEIN / WARREN SMITH ‘ et al – Helix (4th Stream Records 10013; USA) There are a large number of musicians in the New York area, who are committed to making creative music over long periods of time, yet remain below the radar of recognition. Michael Moss is one such musician, who has been involved in the Downtown network, his name appears on so few records that I can find. He did record with Annette Peacock for her first solo record, ‘I’m the One’, but that was in 1972, plus he has a duo effort with guitarist Billy Stein from more recent times. Mr. Moss stopped by the store last Sunday (10/21/18), introduced himself and left us with this disc.
What is interesting is this: Mr. Moss’ Accidental Orchestra features some 22 musicians, most of whom I know well. It is always great to see names like: Vincent Chancey, Jason Hwang, Rosi Hertlein, Ras Moshe, Badal Roy and Warren Smith, since each one is a veteran of this scene. What is also great is getting chance to hear two of Philly’s favorite avant/jazz heroes: Rick Iannacone and Elliott Levin, both of whom were is New Ghost, an amazing yet unsung harmolodic quartet with a disc on ESP. This disc consists of two long pieces, “The Old One”, a suite in five parts and “See Sharp or Be Flat”. Although, this is a large ensemble, Mr. Moss has done a great job of keeping things focused, uncluttered and directed. Although, there are a number of solos, they are often kept short with what sounds like written or partially directed subgroups. With several layers of intersecting currents, one must listen closely to hear the way things are connected. The overall vibe is one of numerous spirits being set free simultaneously, yet I can hear the way certain themes emerge and submerge. One of the highlights here is the shrewd bent-note playing of Richard Keene on oboe, rising above the churning waves below and adding some unexpected twists. There is way too much interesting music going on here to comment on, but I was completely engaged throughout. – Bruce Lee Gallanter, DMG
CD $10



Vittorio Lo Conte, Music Zoom, March 20, 2018:http://www.musiczoom.it/?p=29031 – .WrBB_n8iG70

Michael Moss Accidental Orchestra – Helix

coverConosciamo il multistrumentista Michael Moss come uno dei veterani del free jazz a New York con tutta una serie di formazioni ed incontri, dal solo alla grande orchestra. Eccolo ora all’opera con la nuoca Accidental Orchestra, una big band di ben ventidue elementi con cui esplora le possibilità sonore di un tale collettivo. Insieme ai sassofoni ed algli ottoni c’è anche una sezione d’archi di sei elementi e ciò rende il suono della big band molto personale. Moss, che qui suona il clarinetto, presenta due composizioni, la prima in cinque movimenti. C’è di tutto, dal jazz più tradizionale, con tanto di swing della sezione ritmica, a momenti più materici ed astratti come nel lungo Inception, con strumenti come il djembe o la tabla che danno un senso di world, oppure l’oboe di Richard Keene, con il suo suono nasale che si staglia su tutto l’insieme. Senza dimenticare gli assoli degli altri fiati e gli interventi degli archi, tutti musicisti con una lunga esperienza nell’ambito di questa musica. È un’opera da ascoltare senza pregiudizi, che ricorda certi episodi della musica di Anthony Braxton (con cui alcuni degli orchestrali hanno già suonato), ma che ha le radici nel jazz più tradizionale, quando ci si allontana per spazi siderali si ritorna subito dopo allo swing ed a momenti più “terrestri”, agli scambi dei sax tenori Elliott Levin e Ras Moshe Burnett che ci riportano alle espressioni più autenticamente free di questo strumento. Fra momenti più free ed altri più legati al mainstream Moss dimostra la sua cultura musica e l’abilità nel mettere insieme con coerenza momenti ispirati a periodi storici diversi. Un gran bel disco di questa big band. I musicisti sono Jason Kao Hwang, Rosi Hertlein, Fung Chern Hwei ai violini, Stephanie Griffin viola, Lenny Mims e Carol Buck al violoncello, Steve Swell trombone, Vincent Chancey corno francese, Waldron Mahdi Ricks tromba, Richard Keene oboe, Elliott Levin flauto, sax tenore, Ras Moshe Burnett sax soprano e tenore, Michael Lytle clarinetto basso, Michael Moss clarinetto, Steve Cohn piano, Billy Stein chitarra, Rick Iannacone ambient guitar, Larry Roland contrabbasso, Warren Smith percussioni, vibrafono, Badal Roy tabla, Chuck Fertal batteria, Michael Wimberly djembe, percussioni africane.

Genere: big band, avanguardia
Label: 4th Stream Records
Anno 2018

The Old One
01. Inception
02. Bridge
03. Qabbala
04. Bardo
05. The Mind of a God
See Sharp or be Flat/C# or Bb

By Vittorio Lo Conte

Google Translate

We know the multi-instrumentalist Michael Moss as one of the free jazz veterans in New York with a whole series of formations and meetings, from solo to the great orchestra. Here he is now working with the new Accidental Orchestra, a big band of twenty-two elements with which he explores the sound possibilities of such a collective. Along with saxophones and brass instruments there is also a string section of six elements which makes the sound of the big band very personal. Moss, who plays the clarinet here, presents two compositions, the first in five movements. There is everything from the more traditional jazz, with a swing of the rhythm section, to more material and abstract moments like in the long Inception, with instruments like the djembe or the tabla that give a sense of world, or the oboe of Richard Keene, with his nasal sound that stands out on the whole set. Without forgetting the solos of the other wind instruments and the interventions of the strings, all musicians with a long experience in the field of this music. It is a work to be heard without prejudices, reminiscent of certain episodes of the music of Anthony Braxton (with which some of the orchestras have already played), but which has its roots in more traditional jazz, when you move away from sidereal spaces you return immediately after to swing and more “terrestrial” moments, to the exchanges of tenor saxophones Elliott Levin and Ras Moshe Burnett that bring us back to the most authentically free expressions of this instrument. Between moments more free and others more tied to the mainstream Moss demonstrates its music culture and the ability to consistently put together moments inspired by different historical periods. A great record of this big band. The musicians are Jason Kao Hwang, Rosi Hertlein, Fung Chern Hwei on violins, Stephanie Griffin viola, Lenny Mims and Carol Buck on cello, Steve Swell trombone, Vincent Chancey French horn, Waldron Mahdi Ricks trumpet, Richard Keene oboe, Elliott Levin flute, tenor sax, Ras Moshe Burnett soprano saxophone and tenor, Michael Lytle bass clarinet, Michael Moss clarinet, Steve Cohn piano, Billy Stein guitar, Rick Iannacone ambient guitar, Larry Roland double bass, Warren Smith percussion, vibraphone, Badal Roy tabla, Chuck Fertal drums , Michael Wimberly djembe, African percussion.



Leonid Auskern, Jazz Quad, February 17, 2018:http://jazzquad.ru/index.pl?act=PRODUCT&id=4892


на главную новости о проекте, реклама получить rss-ленту

Michael Moss / Accidental Orchestra – Helix

стиль: джаз
Michael Moss / Accidental Orchestra - Helix

Уже не одно десятилетие имя мультиинструменталиста-духовика и композитора Майкла Мосса связано с авангардной джазовой музыкой Нью-Йорка, так называемой даунтаун-сценой. Он возглавлял такие проекты, как 4 Rivers, Free Energy, Zone, его можно было увидеть на сцене вместе с Сэмом Риверсом, Дэйвом Либмэном, Полом Блеем, Элвином Джонсом, МакКой Тайнером. Музыка и альбомы этого уроженца Чикаго всегда отличаются оригинальностью, необычностью, а зачастую и использованием элементов различных этнических музыкальных культур. Весьма оригинален и его новый проект Helix.

Для его реализации Мосс собрал очень солидный, как по размерам, так и по уровню исполнителей состав – целых 22 человека. Этот импровизационный оркестр получил странное название Accidental Orchestra в честь события, произошедшего, когда Мосс сочинял одну из композиций для будущего альбома, события столь же прозаического, сколь и неприятного – Майкл сломал ногу. Отсюда произошло и название этого состава. Что представляет из себя этот оркестр? Очень большая и представительная группа струнных, достойная камерного академического состава. Из ее участников выделю такого мастера, как Джейсон Као Хванг. Большая группа духовых, в которой характерные для биг-бэнда саксофоны, труба и тромбон вместе с не самым распространенным вариантом кларнета самого Мосса сочетаются с более характерными для симфонического состава гобоем и валторной. Тут сразу привлекает внимание мощная (во всех смыслах) фигура саксофониста Раса Моше Барнетта. И, наконец, большая ритм-группа, включающая помимо традиционных и этнические инструменты, включая табла музыканта из Бангладеш Бадала Роя. Мне этот оркестр по составу напоминает настоящий Ноев ковчег, вместивший самые разные инструменты, которые кажутся порой плохо совместимыми друг с другом. Видно, не зря Мосс назвал свой лейбл 4th Stream Records, т.е. «Четвертое течение», полемизируя заочно с Гюнтером Шуллером, изобретателем термина «третье течение» для музыки, где джаз встречается с классикой.

В Helix вошло всего две, но зато очень объемные, композиции. Первая, сюита в пяти частях, каждая из которых выделена в отдельный трек, называется The Old One. Так в свое время именовал Бога великий физик (и отчасти философ) Альберт Эйнштейн. Сам автор описывает это произведение, как «инициацию в священную землю» и возводит ее к музыке разных народов, связанной с общением с потусторонним миром – от буддистских похоронных ритуалов и обрядов индейцев Северной Америки и до Мессы Баха и еврейской поминальной молитвы Кадиш. Однако, мысли и чувства автора сюиты выражаются на языке фри-джаза, что не делает прослушивание The Old One легким занятием. Если в этой композиции ярко проявилась герметичность и элитарность фри-джаза, то двадцатиминутная See Sharp or Be Flat/C# or Bb отражает другую его черту – юмор. И действительно, слушать эту вещь, где Accidental Orchestra свингует, обыгрывая Norwegian Wood Леннона и МакКартни, I Feel Good Джеймса Брауна и Bags Groove от Modern Jazz Quartet, заметно веселее. В целом – отличный альбом для продвинутых любителей джазовой музыки и, наверное, достаточно сложное произведение для неофитов.

© & (p) 2018 4th Stream Records

2 tks / 57 mins

(Jason Kao Hwang, Rosi Hertlein, Fung Chern Hwei – vi; Stephanie Griffin –viola; Lenny Mims, Carol Buck –cellos; Steve Swell – tb; Vincent Chancey -French horn; Waldron Mahdi Ricks – tp; Richard Keene –oboe; Elliott Levin – fl, ts; Ras Moshe Burnett – ss, ts; Michael Lytle – bass cl; Michael Moss -Bb cl; Steve Cohn – p; Billy Stein – g; Rick Iannacone -ambient g; Larry Roland -string b; Warren Smith – perc, vibe; Badal Roy – table; Chuck Fertal – dr; Michael Wimberly – djembe, African bells, perc;)

Линк предоставлен Jazz Promo Services



CD Review:  http://jazzquad.ru/index.pl?act=PRODUCT&id=4892

By Leonid Auskern

Google Translate

For more than one decade, the name of the multi-instrumentalist-witch and composer Michael Moss is connected with the avant-garde jazz music of New York, the so-called downtown stage. He led projects such as 4 Rivers, Free Energy, Zone, he could be seen on stage with Sam Rivers, Dave Liebman, Paul Bley, Elvin Jones, McCoy Tyner. The music and albums of this native of Chicago are always distinguished by their originality, originality, and often the use of elements of various ethnic musical cultures. Very original and his new project Helix.


For its implementation, Moss collected a very solid, both in size and in terms of performers composition – as many as 22 people. This improvisational orchestra received the strange name Accidental Orchestra in honor of the event that occurred when Moss composed one of the tracks for the upcoming album, an event as prosaic as it was unpleasant – Michael broke his leg. Hence the name of this composition also occurred. What is this orchestra? A very large and representative group of strings, worthy of chamber academic composition. From its participants I will single out such a master as Jason Kao Hwang. A large group of wind instruments, in which the saxophones, trumpet and trombone, which are characteristic of the big band, together with Moss’ not-so-common version of the clarinet, are combined with the oboe and the holographic character characteristic of the symphonic composition. Here, immediately attracts the attention of a powerful (in all senses) saxophonist Rasa Moshe Barnett. And, finally, a large rhythm group, which includes traditional and ethnic instruments, including a tabla musician from Bangladesh Badal Roy. To me this orchestra in composition resembles a real Noah’s Ark, containing a variety of instruments that seem at times poorly compatible with each other. It’s clear that Moss called his 4th Stream Records label, “Fourth stream”, polemicizing in absentia with Gunter Schuller, the inventor of the term “third stream” for music, where jazz meets with classics.


In Helix, there were only two, but very large, compositions. The first, a suite in five parts, each of which is separated into a separate track, is called The Old One. So in due time God was called by the great physicist (and partly philosopher) Albert Einstein. The author himself describes this work as “initiation into the sacred land” and brings it to the music of different peoples associated with communication with the other world – from Buddhist funeral rites and rituals of the Indians of North America and to Mass Bach and the Jewish memorial prayer Kaddish. However, the thoughts and feelings of the author of the suite are expressed in the language of free jazz, which does not make listening to The Old One easy. If this composition clearly showed the tightness and elitism of free jazz, the twenty-minute See Sharp or Be Flat / C # or Bb reflects another of its features – humor. Indeed, listening to this thing where the Accidental Orchestra swings, beating Norwegian Wood of Lennon and McCartney, I Feel Good of James Brown and Bags Groove from the Modern Jazz Quartet, is noticeably more fun. In general – an excellent album for advanced fans of jazz music and, probably, quite a complex work for neophytes.



Didier Gonzalez, Highlands Magazine #92, July, 2018:http://highlands.fanzine.free.fr

L’Actualité du Rock Progressif.

Site mis à jour le / Site updated on:
8 janvier 2019



Highlands Magazine




(Jazz Promo Services)

Le multi instrumentiste compositeur

newyorkais de free-jazz Michael MOSS a

assembl. un orchestre de 22 membres


d’interpr.ter le premier enregistrement de

sa composition The Old One, une suite de

35’54, en r.f.rence . Albert EINSTEIN qui

faisait r.f.rence . Dieu de cette mani.re.

En compl.ment de programme, MOSS

ajoute See Sharp Or Be Flat, composition

longue de 20’39.

Cette musique qui se r.f.re autant au jazz

exp.rimental qu’au rock in opposition est

pour les aficionados relativement facile .

apprivoiser pour peu qu’on accepte les

dissonances et qu’on soit familiaris. avec

les oeuvres de Keith TIPPETT (Cf.

CENTIPEDE). L’aventure est permanente,

l’ambition est totale.

Quand Albert AYLER rencontre John

COLTRANE rencontrant Keith TIPPETT

rencontrant Cecil TAYLOR, cela peu

donner une oeuvre ressemblant . celle


Michael MOSS.

Les cuivres sont naturellement dominants

avec Eliott LEVIN : saxophone t.nor ;

Waldon Mahdi RICKS, trompette ; Steve

SWELL, trombone ; Michael LYTLE,

clarinette basse ; Michael MOSS,

clarinette ; Ras Moshe BURNETT,

saxophone t.nor et soprano, Vincent

CHANCEY, cor fran.ais. Les instruments .

vents sont pr.sents, comme le hautbois

de Richard KEENE et la fl.te d’Eliott LEVIN.

Le piano est jou. par Steve COHN, le

vibraphone par Warren SMITH. Les violons,

altos et violoncelle sont utilis.s.

Cet ensemble .minemment orchestral est

remarquablement maitris. dans une

dissonance savamment dos.e. Les

m.langes s’av.rent subtils et d.lectables.

L’ambition de ce projet pharaonique

aboutit . une r.ussite totale – vous

pourrez en p.n.trer les arcanes pour peu

que vous soyez curieux, patients et que

vous ferez preuve d’ouverture. Au bout du

chemin, une oeuvre superbe, hors norme .

la dimension proche d’ESCALATOR OVER

THE HILL de Paul HAINES & Carla BLEY, la

voix de Jack BRUCE et la guitare de John

McLaughlin en moins. (****.)


Highlands Magazine


July, 2018

Your Music is being Featured in Highlands Magazine #92





New York multi-instrumentalist free-jazz composer Michael MOSS has assembled a 22-member orchestra called ACCIDENTAL ORCHESTRA to perform the first recording of his composition The Old One, a 35’54 sequence, in reference to Albert EINSTEIN who was referring to God in this way. In addition, MOSS features See Sharp Or Be Flat, a composition of 20’39.

This music, which relates as much to experimental jazz as to rock in opposition, is for the aficionados relatively easy to tame if you accept dissonance and you are familiar with the works of Keith TIPPETT (see CENTIPEDE). The adventure is permanent, the ambition is total.

When Albert AYLER meets John COLTRANE meeting Keith TIPPETT meeting Cecil TAYLOR, that can give a work similar to that played by the ACCIDENTAL ORCHESTRA of Michael MOSS.

Brass instruments are naturally dominant with Eliott LEVIN: tenor saxophone; Waldon Mahdi RICKS, trumpet; Steve SWELL, trombone; Michael LYTLE, bass clarinet; Michael MOSS, clarinet; Ras Moshe BURNETT, tenor and soprano saxophone, Vincent CHANCEY, French horn. Wind instruments are present, such as Richard KEENE’s oboe and Eliott LEVIN’s flute. The piano is played by Steve COHN, the vibraphone by Warren SMITH. Violins, violas and cello are used.

This eminently orchestral ensemble is remarkably mastered in a carefully measured dissonance. The mixes are subtle and delectable. The ambition of this pharaonic project results in a total success – you will be able to penetrate the mysteries if you are curious, patient, and have an open mind. At the end of the path, a superb work, out of the ordinary, close to ESCALATOR OVER THE HILL by Paul HAINES & Carla BLEY, less the voice of Jack BRUCE and the guitar of John McLaughlin.


4.5 stars



Kev Rowland, Gonzo Weekly, (Kev’s World is on pp 8-82), Nov. 10, 2018:http://www.gonzoweekly.com



%d bloggers like this: