Mostly Other People Do The Killing is a New York band, consisting of Moppa Elliott on bass, Kevin Shea on drums, Peter Evans on trumpet and Jon Irabagon on saxes. Moppa Elliott wrote all the material : 10 tracks of about 6 minutes long. The band's intention is to bring back fun into jazz, and that is what they do : building on the tradition, but with an open mind, rough and hard. As Elliott writes "I like my jazz with some dirt on it, sometimes a lot of dirt. Jazz has started to take itself too seriously and is in danger of falling into the same stagnant condition that so-called "classical music" is in now."

On this album, the arrangements are more complex than on the albums reviewed above, with room for short and compact improvizations, except for the last track, a long rendition of "Night In Tunesia" on which drums, sax and trumpet get the chance to play long solos.

*****author: Christopher Monsen
MODTK, led by bassist Moppa Elliot, make a brand of highly entertaining modern jazz that is at once off-kilter and hard swinging. One of my fave records of 2007. Recommended.

*****author: Tim McHugh
A great album mixing top-notch performances with great wit!

With one exception, drummer John Hollenbeck hasn't taken prominent front-cover credit on releases by The Claudia Quintet. This holds true for Royal Toast, the band's extraordinary fifth album. The decision makes sense, for Hollenbeck's labyrinthine compositions get much of their subtlety and force from the individual players that have defined the group's identity from the start.

On Royal Toast, Hollenbeck yields the floor to each of them in turn and so "Ted versus Ted" features accordionist Ted Reichman in a brief double-tracked duet with himself; "Drew with Drew" highlights bassist Drew Gress in the same fashion; "Matt on Matt" gives vibraphonist Matt Moran his turn and "Chris and Chris" features the sparring tenor saxophones of Chris Speed. Of course there's also "Keramag Prelude," a Hollenbeck drum solo and "'Ideal' Intro," an abstract, reverb-soaked meditation by pianist and guest Gary Versace, who expands the quintet to a sextet. Each improvised sketch flows naturally into the dense through-composed track that follows; cleansing the palate and helping listeners digest the music in all its extended brilliance.

Hollenbeck has worked a good deal in chamber and modern classical settings, and his writing for The Claudia Quintet involves a level of multipart detail expected from a new music ensemble like Alarm Will Sound. The key difference is the fitful improvised component, as well as the raw rhythm lurking under every shimmering harmonic texture or contrapuntal flourish, from the slower passages of "Zurn," "Armitage Shanks," and the opening "Crane Merit," to the breakneck assertions of "Keramag," "Paterna Terra" and the title track. For all its clashing asymmetry and constant, baffling change, the music radiates with steadiness and grace.

Soledad schreef:
Ik denk dat de jazzliefhebbers (en alleen zij deden hier aan mee) of deze plaat al kennen, of van musicmeter af zijn.