Citizen Jazz “Nerve Dance” review

July 9, 2017 Cosmopolite à plus d’un titre (israélien d’origine, ayant vécu en France et vivant aux Etats-Unis), le saxophoniste Michaël Attias est de ceux qui, au sein de la bouillonnante scène new-yorkaise, se portent garants de la continuité d’un jazz historique qu’il renouvelle à sa manière, sans heurt ni violence. A la tête d’un quartet dansContinue reading “Citizen Jazz “Nerve Dance” review”

London Jazz News “Nerve Dance” review

May 28, 2017 Alto saxophonist and composer Michaël Attias has released a series of albums in the past few years showing a deeply personal and creative voice, with bands including Renku (his trio with John Hébert and Satoshi Takeishi) and Spun Tree (with Ralph Alessi, Matt Mitchell, Sean Conly and Tom Rainey). Nerve Dance is the first release fromContinue reading “London Jazz News “Nerve Dance” review”

Jazz Magazine “Nerve Dance” review

April 2017 Né en Israël de parents marocains, élevé à Paris puis à Minneapolis, citoyen de New York, ce pluri-saxophoniste disciple de Lee Konitz et Anthony Braxton, partenaire de Paul Motian, Anthony Coleman, Tony Malaby ou Kris Davis, Michaël Attias est aussi l’un des piliers du label libertaire portugais Clean Feed. Pour ce sixième album,Continue reading “Jazz Magazine “Nerve Dance” review”

‘Bird Is Like Shakespeare’: Downbeat Player’s Feature

April 2017 On one of his previous Clean Feed albums, 2012’s Spun Tree (with trumpeter Ralph Alessi, pianist Matt Mitchell, bassist Sean Conly and drummer Tom Rainey), alto saxophonist Michaël Attias took a deliberately through-composed approach on exacting pieces like “Ghost Practice,” “Subway Fish Knit” and the knotty title track, each brimming with polyphony. HisContinue reading “‘Bird Is Like Shakespeare’: Downbeat Player’s Feature”

Take Five (WBGO) “Nerve Dance” review

March 12, 2017 On his new album, Nerve Dance, the alto saxophonist and composer Michaël Attias strikes a precarious balance between instinct and intellect. He has just the right partners for such a task: pianist Aruán Ortiz, bassist John Hébert and drummer Nasheet Waits, brilliant musicians who know how to complicate any hard-and-fast distinction between “outside”Continue reading “Take Five (WBGO) “Nerve Dance” review”

‘In The Fuzzy Space’: Irish Times “Nerve Dance” review

March 9, 2017 The old division between “free” and structured music takes a battering on Michaël Attias’s sixth release as leader. The New York alto saxophonist’s compositions may evince detailed harmonic and rhythmic structures, with clearly “intended” consequences, but they are first and foremost a set of instructions for setting his talented quartet free. Pianist AruánContinue reading “‘In The Fuzzy Space’: Irish Times “Nerve Dance” review”

All About Jazz “Nerve Dance” review

March 2, 2017 Methodical design, rough-and-tumble play, and thoughtful exchange are often viewed as mutually exclusive concepts in jazz. Saxophonist Michaël Attias’ Nerve Dance, however, obliterates that line of thinking and any potential obstacles that could separate those realms. This is a work that’s cultured, contumacious, and conversational in nature. It’s principled art unbound.  Nerve Dance introducesContinue reading “All About Jazz “Nerve Dance” review”

NYC Jazz Record “Nerve Dance” review

March 2017 Nerve Dance presents alto saxophonist Michaël Attias’ latest group, a quartet with frequent co-workers John Hébert (bass) and Nasheet Waits (drums) along with a newcomer, Cuban-born pianist Aruán Ortiz. It’s a remarkably tight-knit band. In part, that’s based on certain common values and sources. One is Andrew Hill: Hébert and Waits worked with theContinue reading “NYC Jazz Record “Nerve Dance” review”