Curve Ball

At a night spot, the record changer in the living room, the radio station, on a portable phonograph at the beach – wherever popular recordings are played – you’ll find Kerry Pastine and the Crime Scene. Anywhere the audience appreciates a lusty, swingin’ approach this group of musicians will be there to deliver it in spades. With their new album, aptly titled “Let’s Do This Thing,” they have stripped away the sham of trivial gimmickry and given a salute to the music of the day. With its uplifts and down-drafted recollections, this album is immaculately conceived and expertly executed. One cannot fully appreciate the music, however, without understanding the musicians behind it, for the magic in this band is in the sum of its parts…

Its been just over a decade now since Antony Kalugin released his first work "The Water" since then has followed 12 albums, studio albums, each of which has help raise his profile and build what we call his "wall of music", and like all great walls its been constructed to be both impressive to all that look at and remain solid and strong through the passing of time. Now four AKP projects later Sunchild, Karfagen, Hoggwash and finally AKKO. As a live artist Antony has also gained respect and earned his musician’s stripes playing all across Europe…

Initially an inheritor of an abstract/expressionist improvising style originated in the '60s by such saxophonists as Albert Ayler and Archie Shepp, David Murray eventually evolved into something of a mainstream tenorist, playing standards with conventional rhythm sections. However, Murray's readings of the old chestnuts are vastly different from interpretations by bebop saxophonists of his generation. Murray's sound is deep, dark, and furry with a wide vibrato reminiscent of such swing-era tenorists as Ben Webster and Coleman Hawkins. And his approach to chord changes is unique. Although it's apparent that he's well-versed in harmony, Murray seldom adheres faithfully to the structure of a tune.