Cheryl Pyle -musician-Jazz Flute

Cheryl Pyle -musician-Jazz Flute



The versatile flutist Cheryl Pyle received her BA in music from the University of California at Berkeley in 1976, having received her Associates Degree from Mesa College in 1974. Her teachers included Merrill Jordan, Janet Maestre, Francis Watson, and Jayn Rosenfeld. She took Master Classes with Jean-Pierre Rampal, Julius Baker, James Newton. At Berkeley, she was a member of the school's orchestra, and she possesses an extensive classical solo repertoire. From 1975 to 1976 she served as Musical Director of the Berkeley Shakespeare Festival, and she has performed in orchestras for over half a dozen musical theater productions. From 1977 to 1980 she was on the faculty at Berkeley as its flute teacher in the Jazz Department and taught at the Manchester Music Festival in Vermont in 1993 and 1996. While at Berkeley, Ms. Pyle was Principal flutist in the University Jazz Ensemble. This group appeared at the Pacific Coast Jazz Festival where they played with such major artists as Sonny Rollins, George Duke, Freddie Hubbard, Hubert Laws, and Joe Henderson. They also performed at the 1976 Concord Jazz Festival. After graduation, she performed extensively in the San Francisco area, where she was a performing member of the Loft Jazz Association. She played with many notable Bay area musicians, including Bishop Norman Williams, Susan Muscarella, Bruce Forman, and Jessica Williams.

Since moving to New York in the fall of 1980, Ms. Pyle has been heard in a variety of settings. She has appeared at such jazz clubs as the Blue Note, Somethin' Jazz, Art on A Gallery, Seventh Avenue South, Jazz Forum, Angry Squire, Kave Haz, The Garage, Cornelia Street Café, CBGB's Art Gallery, St. Peter's Church, Amazonas, Bar on A ,Cultural 5-C Cafe, Tong Ren Center, NUBLU, Downtown Music Galley, Spectrum, Sycamore Radio Zero, Zirzamin, Gizzy's, Brecht Forum , Frost Gallery, University of the Streets, Fat Baby's, ABC No RIO, Why Not Jazz, ShapeShifter Lab, Taller Latino, Medicine Show Theater,CultureFix,Birdland and Wild Goose Creative- Ohio.

She was also heard at the Annual Women's Jazz Festival as well as the Mount Vernon Jazz Festival in New York. She is a member of the World Flute Orchestra and NY Jazz Flutet. Her jazz composition, Dalle Alle, was awarded in 1989 by the Billboard Song Contest, and her lyrics have received numerous poetry awards such as the Gold Poet Award in 1989 and 1990. Her lyrics have been recorded by such fine jazz singers as Janis Siegel (of Manhattan Transfer), Roseanna Vitro, Jeri Brown, Judi Silvano, Gloria Cooper and Sheila Jordan. her lyrics have been recorded on Atlantic, Justin time, Random Act, Sklyine, Muse and Concord records. She has performed her solo flute compositions at Kitty Brazelton's Real Music Festival in 1993, continues to compose works for jazz flute. In 1996, she performed in the opera premier of The Other Wiseman by Stephanie de Kennessey with the Golden Fleece Opera company in New York. Her first classical recording was the Frostiana song cycle with the composer, Randall Thompson conducting Ms.Pyle as flute soloist.

Ms Pyle has performed and played with such fine musicians as Joe Lovano, Andy LaVerne, Fred Hersch, Tom Harrell, Mark Soskin, Billy Bang, Danilo Perez, Mike Holober, David Phelps, Chuck Loeb, Mark Cohen, Steve LaSpina, Michael Cochrane, Ron McClure, Billy Hart, Ben Monder, Sergio Brandao, Max Ridgway, Randall Colbourne, Billy Hart, Adam Nussbaum, Duduka Fonseca, Charlie Haden, Arthur Kell, Lucy Galliher, Bele Beledo, Premik Russell Tubbs, Frank Burrows, Neil Alexander, Danny Gottlieb, James Williams, John Abercrombie, Paul Motian, Peter Washington, Roberta Piket, Nora McCarthy, Jorge Sylvester, Claire De Brunner, Dom Minasi, Lou Grassi, Tony Cimorisi, Hans Peter Salentin, Joop Wolters, Stephan Crump, Francois Grillot, Rez Abassi, Gerry Gibbs, Newman Taylor Baker, Daniel Carter, Stomu Takeshi, Bern Nix, Biggi Vinkeloe, Atma Anur & others. She has recorded on Contemporary and Chesky Records with Tom Harrell, Joe Lovano, Danilo Perez, Charlie Haden and Paul Motion.

Since recording her first quartet CD in 1997-DALLE ALLE on the 11th street music label, the jazz group has been playing many jazz clubs and concerts, 2008 there were two performances with Joop Wolters in New York performing his music. 2009 recording projects include Til Soon, Blood Fountains-FLOODS-Stephen Kasner, and Altar of Oblivion-SINEWS OF ANGUISH with Martin Sparvath . SURREAL was released on the 11th street music label in 2010, Audio Chocolate-Paul Tauteroff's cd-featuring flute on "The Journey". INSIDE DIALOGUE released Jan 2011, is available on itunes, cdbaby, dig station. SOUL DUST-11th street music with Max Ridgway, Cheryl Pyle and Randall Colbourne. SOUND SCULPTURES released in 2012 -11th street music with Max Ridgway and WONDERFUL TIMES-Dewey records/KAZHARGAN-Stan Zaslavsky, Hans Peter Salentin, Cheryl Pyle, Max Ridgway, Brian Mitchell Brody, Sean O'Bryan Smith , Tony Cimirosi, Alesandre Zaslavsky.

11th street music cd releases in 2013 include Green Underworld with Max Ridgway and Randall Colbourne, Far Out Flute & Bass, Flute Karma Duo live, and New-tet live in NYC . Performances in 2012 include flute / bass duos with live painter Anthony Cerretani, and participating in the Dissident Arts Festival Orchestra 2012, 2013 ,2014 improvising a live score to the silent film classics Metropolis, Cabinet of Dr Caligari and Battleship Potempkin.

2014 recordings include Post Fiction-Dewey Records-Kazahargan Jazz group, Flute Karma Duo with Premik Russell Tubbs, Modern Art with Max Ridgway and Randall Colbourne, Trio Live at ShapeShifter Lab with Roberta Piket and Newman Taylor Baker, Duo with Claire de Brunner, Axel Weiss-Silent Noise on Saturn, and Duo with Nora McCarthy -Let's Talk about Now. 2015 recordings include Flute Fables, Flute Duo with Biggi Vinkeloe + Raw Sound Sweden, Beyond Duo live at Art on A gallery with Bern Nix and live concerts include Beyond Duo, Trio , Quartet , Quintets and Sextets.

Cheryl Pyle is available to perform in duo, trio, quartet settings, and available for online recording projects and lessons in composition, theory, lyric writting and flute playing.

contact links:



BEYOND SEXTET with Carman Moore conducting LIVE AT DOWNTOWN MUSIC GALLERY -11TH Street music 2015 Cheryl Pyle-flute/Gene Coleman-flute-piccolo-Bass flute /Bern Nix-guitar/Michael Eaton-soprano sax David Tamura- tenor sax / William Ruiz - percussion

BEYOND SEXTET with Carman Moore conducting LIVE AT ABC NO RIO -11TH Street Music 2015 Cheryl Pyle-flute/Gene Coleman-flute-piccolo-Bass flute /Bern Nix-guitar/Michael Eaton-soprano sax David Tamura- tenor sax / William Ruiz - percussion

MAHASEN-11TH Street Music- 2015 -Cheryl Pyle-flute/William Ruiz-percussion, drums, bells


BEYOND QUINTET LIVE AT ABC NO RIO -11th Street Music 2015-Cheryl Pyle-flute/Gene Coleman-Flute-Piccolo/Bern Nix-Guitar/Michael Eaton-Soprano Sax/David Tamura-Tenor Sax

BEYOND DUO - 11th street music 2015- Cheryl Pyle -flute /Bern Nix -guitar- live from Art on A Gallery

BIGGI VINKELOE/CHERYL PYLE -FLUTE DUO -RAW SOUND SWEDEN LIVE AT DOWNTOWN MUSIC GALLERY-11th street music 2015 -Biggi Vinkeloe- alto sax /flute, Cheryl Pyle -flute, Elsa Bergman-bass, Anna Hogberg-alto sax, Malin Wattring-tenor sax, Signe Dahlgreen-tenor sax, Anna Lund-drums with Shayna Dulberger-bass

REACHING THE END- Lords Of Triumph- Journey's End Records -2015- Phil Swanson - Vocals, Martin Meyer Sparvath - Guitars, Keyboards & Backing Vocals, C. Nørgaard - Bass, Andreas Joen - Drums, Additional Keyboards by Lars Strøm ,Guest Appearance on Flute by Cheryl Pyle

FLUTE FABLES-11th Street Music -2015- Cheryl Pyle- compositions, flutes

MESS AROUND-Renjenstromkin 2014-CROSSING BORDERS Group -vocalist/pianist- Jennifer Scott , bassist Rene Worst , saxophonist/vocalist Kristen Strom, guitarist -Scott Sorkin , drummer- Jason Lewis(Rain waltz-music Fred Hersch/Lyrics -Cheryl Pyle)

SILENT NOISE ON SATURN -Intrinsic Records-2014-Cheryl Pyle - flutes,Axel Weiss - guitars, keys, strings, perc., whistling, mix, art

CLARITY-THE MUSIC OF CLARE FISCHER - Random Act Records-2014- Roseanna Vitro-vocals, Mark Soskin-piano, Sara Caswell-violin, Dean Johnson-bass, Tim Horner -drums, Mino Cinelu- percussion, lyrics by Cheryl Pyle on Pavillon -Life's Journey and The Duke- Swingin with the Duke

LET'S TALK ABOUT NOW -11th street music- 2014 -Nora McCarthy- voice, spoken word, poetry/ Cheryl Pyle- flute , spoken word

MODERN ART - 11th street music-2014- Cheryl Pyle-flute tracks 1, 4 ,6 ,8 .11, Max Ridgway-guitar, bass, effects, Randall Colbourne -drums

TRIO LIVE AT SHAPESHIFTER LAB-11TH Street Music-2014 -Cheryl Pyle -flute, Roberta Piket-piano, Newman Taylor Baker-washboard percussion

FLUTE KARMA LIVE AT DOWNTOWN MUSIC GALLERY- 11th street Music 2014 - Premik Russell Tubbs, Cheryl Pyle -flutes and electronics

POST FICTION -Dewey Records/Kazhargan -2014- Stan Zaslavsky-piano/compositions, Hans Peter Salentin-trumpet-horn arr, Cheryl Pyle-flute,spoken word, Max Ridgway-guitar, Sean O'Bryan Smith-bass, Laurent Planells-drums

ALCHEMY OF TIMES- 11th Street Music-2014 - Cheryl Pyle- Flute, Bass, Keyboard

Outer Limits -Jampykeys Music- 2013 CD- Jampykeys - Giampaolo Rolli: Music, synthesizers, programming, arrangments ,Cheryl Pyle: Flute and poems on track 3 / 13 - Flute on track 6 ,Bill Berends: Guitar on track 3.

SITTING AT THE LAKE -Hans Peter Salentin- Dewey Records-2013, with Cheryl Pyle, Max Ridgway, Benni Freibott, Tato Gomez, Stan Z, Tony Cimorosi, Yves Ferrand

DUO - CLAIRE DE BRUNNER -BASSOON & CHERYL PYLE -FLUTE 11th street music Sept 2013 - Cheryl Pyle -flute , Claire De Brunner -bassoon

NEW-TET LIVE IN NYC - 11th street music -2013 -Cheryl Pyle, Daniel Carter, Max Johnson, Newman Taylor Baker

INSIDE OUT - NIGHT GALLERY -9th records -2013-Mark Demon - Vocals,Kit E. Hawke - Bass Guitar, Jimmy Dragon - Drums/Percussion,Paul Ash - Keyboards, Gerry Barnas-guitar, Jesse Effros-guitar, Zarabeth Burns -violin, Cheryl Pyle -flute ,Colin Stroker -background vocals

FAR OUT - 11th street music -2013 - Cheryl Pyle -compositions, flute, bass, poetry

GREEN UNDERWORLD -11th street music- 2013- with Cheryl Pyle -flute & poetry, Max Ridgway -guitar , acoustic bass, and Randall Colbourne drums

FLOW -Intrinsic Records 2012 - Axel Weiss(guitar), Cheryl Pyle(flute), Oddrun Eikli(vocals), Arne Hiorth(trumpet), Stan Zaslavsky(piano), Sean O'bryan Smith(bass)

BLUE WINDOW - Dewey Records 2012 - Hans Peter Salentin , Kuba Stankiewicz /Piano,Roman Chraniuk/ Bass,Marcin Jahr /Drums,Julia Sawicka/ Vocal with Guests : Cheryl Pyle on Flute / Vocal and Dirk Rumig

SOUND SCULPTURES- Cheryl Pyle -11th street music -2012 -Cheryl Pyle -flute & bass with Max Ridgway -guitar

WONDERFUL TIMES -Dewey Records/KAZHARGAN-2012- Piano-: Stan Z (Russia). Trumpet: Hans Peter Salentin (Germany). Flute: Cheryl Pyle (New York). Sax: Brian Mitchell Brody (USA). Guitar: Max Ridgway (USA). NS Double bass: Tony Cimorosi (New York). Electric bass: Sean O'Bryan Smith (USA). Drums & Percussion: Papa Z (Russia).

SOUL DUST- 11th street music- 2011 with Cheryl Pyle -flute ,electric bass, Max Ridgway -guitar , acoustic bass, and Randall colbourne drums.

INSIDE DIALOGUE- Cheryl Pyle- 11th street music -2011- Cheryl Pyle -flute & bass, piano, effects

9 FLUTE DUOS - 11th street music -2011 - Cheryl Pyle and Nick Gianni -flutes and improvising

AUDIO CHOCOLATE-Paul Tauterouff-- 2010- Cheryl Pyle flute -The Journey

SURREAL -Cheryl Pyle -flute and bass-11th street music -2010 -Cheryl Pyle -flute and bass (keyboards, effects & boss br600 drums)

FLOODS-BLOOD FOUNTAINS- Utech records-2009- Stephen Kasner, David Beaver, Mat Woods, Cheryl Pyle –flute,and the vocals of Yoshiko Ohara (Bloody Panda)

TIL SOON- Cheryl Pyle Trio-11th street music - 2009 –Cheryl Pyle –flute and bass with boss br600 drums

SINEWS OF ANGUISH-Altar of oblivion-Shadow Kingdom Records- 2009-Cheryl Pyle –flute – a retreat into delusions and sinews of anguish.. w/ Martin Sparvath, Mik Mentor, Alan Larsen, C. Norgaard, Lars Strom

DEDICATED TO YOU-Gloria Cooper-Origin Records 2004- Two Reflect as One-music by Michael Cochrane/lyrics by Cheryl Pyle . arr. by Don Sickler, w/ Wayne Escoffrey, Freddie Bryant, Tim Givens , Vince Cherico.

HI MIKE- 2000-Cheryl Pyle flute - they come down and lambuddy- Guitars/Keyboards:Mike Stand and Johnny Mike!--French Horn: Lou Denaro--Bass:JimmySplatt--Drums: ErichMike and SighMike

JAZZ CHILD - Sheila Jordan - High Note -1998 BUFFALO WINGS - Music by T. Harrell, lyrics by C. Pyle

DALLE ALLE - Cheryl Pyle Quartet - 11 Street Music - 1997- C. Pyle (flute) with David Phelps (guitar), Stephan Crump (bass) and Kirk Driscoll (drums)

PASSION DANCE - Roseanna Vitro - Telarc Jazz - 1996- SIMONE -weaver of dreams - Music by Frank Foster, lyrics by C. Pyle with Ken Werner (piano), Christian McBride (bass )and Elvin Jones (Drums)

HEART STRINGS - Sheila Jordan - Muse Records -1994 Out to Sea (Sail Away) - Music By Tom Harrell, Lyrics by Cheryl Pyle, strings arranged by Alan Broadbent, with Harvie Swartz - bass, Marvin Smitty Smith - drums

SOFTLY - Roseanna Vitro - Concord Records - 1993 Song For All Ages - Music by Fred Hersch, Lyrics by Cheryl Pyle, Life I Choose - Music by Tom Harrell, Lvrics by Cheryl Pyle, with Jay Anderson, Tom Rainey, George Coleman, Tim Reis, and Mino Cinelu

THE D.T.'S - The D.T.'s - C-4 Productions - 1993. Cheryl Pyle -- Flute on Moonflower, with Rich Kelly, J. P. Harvey, guitars, Dr. Planet - bass, J. Kaplan -drums, engineer-Josh Silver

THE PEACOCKS - Teri Brown - Justin Time Records - 1993 Don't Ask - Music by Fred Hersch, Lyrics by Cheryl Pyle with Kirk Lightsey, Rufus Reid, Wali Muhammad, and Peter Leitch

DANCING VOICES - Judi Silvano - J.S.L. Records - 1992 Two Hearts Wonder - Music by Tom Harrell, Lyrics by Cheryl Pyle, with Joe Lovano, Tim Hagens, Salvatore Bonafede, Ken Werner and Scott Lee

PASSAGES - Tom Harrell - Chesky Records - 1992, with Joe Lovano - sax, Cheryl Pyle - flute, Danilo Perez - piano, Peter Washington - bass, Paul Motian - drums, Café - percussion

MIRAGE - Jeri Brown - Justin Time Records - 1991 Mirage and Child Song - Music by Fred Hersch, Lyrics by Cheryl Pyle

VISIONS - Tom Harrell - Contemporary Records - 1991 with Joe Lovano - sax, Cheryl Pyle - flute, Danilo Perez - piano, Charlie Haden - bass and Paul Motian - drums

FORM - Tom Harrell - Contemporary Records - 1990. joe Lovano - sax, Cheryl Pyle - flute, Danilo Perez - piano, Charlie Haden - bass, Paul Motian - drums

SAIL AWAY - Tom Harrell - Contemporary Records - 1989. Joe Lovano - sax, Cheryl Pyle - flute, David Liebman - sax, James Williams - piano, Ray Drummond - bass, Adam Nussbaum - drums, John Abercrombie - guitar

SHORT STORIES - Janis Siegel - Atlantic Records - 1989. Janis Siegel - voice, Fred Hersch - piano; with lyrics by Cheryl Pyle, A Dance for Me

QUARTET - Mili Bermejo - Nuevo Records - 1988. With music by Fred Hersch, lyrics by Cheryl Pyle

A NIGHT IN THE LIFE - Santo - Source Records - 1987. Santo - guitar, Billy Bang - violin, Cheryl Pyle - flute

A QUIET PLACE - Roseanna Vitro - Skyline Records - 1987. Fred Hersch - piano, Eddie Daniels - sax. Mark Egan - bass, Joey Baron - drums; with lyrics by Cheryl Pyle, A Simple Samba and Mirage

FROSTIANA - Randall Thompson Conducts - Bassett Records - 1974. Cheryl Pyle - flute soloist (classical)


LOFT JAZZ ON PIER 50 Bay Guardian, San Francisco, Sept 20, 1979
The idea behind Loft Jazz according to it articles of incorporation is to "provide an environment ... to bring musicians together in playing and listening situations where ideas can be exchanged, to develop and promote an appreciation of jazz music in a non-commercial atmosphere conducive to attentive listening." At the Monday night jam session at Bethany Methodist Church, SF, musicians have been a fixture for quite a while and have attracted such local talent as Dave Ginsberg, Mike Koskinen, Bishop Norman Williams, and Cheryl Pyle. review by Kerrigan Black

Recorded in 1989 and re-released on Original Jazz Classics in 2003, Sail Away is a fine outing by trumpeter Tom Harrell. He's joined by pianist James Williams, bassist Ray Drummond, and drummer Adam Nussbaum. A handful of guests -- flutist Cheryl Pyle, guitarist John Abercrombie, tenor Joe Lovano, and soprano Dave Liebman -- fill out the arrangements on ten instrumentals (two are bonus cuts from Visions). Together, Harrell and company add a contemporary spin to mainstream jazz. The ten-minute track "Dream in June" takes a number of adventurous flights of fancy without ever losing track of its base. Both Harrell and Abercrombie's solos build complex, forceful ideas against a backdrop of Nussbaum's powerful drumming, creating a dense sound that belies predictability. Harrell and Lovano's horns entwine on "Glass Mystery"'s intro, concocting a late-night mood for this lovely piece, while Pyle's flute adds the right touch to the meditative "Dancing Trees." Each track of Sail Away unfolds like an impressionistic canvas, bursting with color and light, with every brush stroke working toward the sum total of the painting. Modern jazz fans looking for music that's grounded -- but never imprisoned -- by yesteryear will want to pick up a copy. ~ Ronnie D. Lankford Jr., All Music Guide Away [Original Jazz Classics]: Critic's Review

Los Angeles Times TOM HARRELL "FORM" Contemporary Records 1990
Constantly evolving as a composer and soloist, the former Phil Woods sideman illustrates how much can be achieved with two-part harmony: his own trumpet or fluegelhorn and Joe Lovano on sax. A ringer, Cheryl Pyle on flute is added for "January Spring" a complex and challenging piece in which everyone, including Panamanian pianist Danilo Perez, 23, plays a valuable role. Neil Tesser's notes deal sensitively with Harrell's emotional problem (a diagnosed schizophrenic, he seems to come alive only when he puts the horn to his lips). rather than pity him, as Tesser points out, we should admire him and marvel at the creativity that has defied such daunting odds. by Leonard Feather

Form -Tom Harrell -1990-
review by Scott Yanow
This was trumpeter Tom Harrell's first recording since ending his long period with Phil Woods' quintet. He performs five originals plus the standard "For Heaven's Sake." Most intriguing are "January Spring" (a lengthy workout that is freely improvised except for the theme) and the cooking "Rhythm Form" which, although loosely based on "I Got Rhythm," sounds as if it could have been written by Ornette Coleman. Throughout the date the contributions of Joe Lovano (on tenor and soprano), pianist Danilo Perez, the fine flutist Cheryl Pyle (on "January Spring") and the mighty Charlie Haden-Paul Motian rhythm team keep the trumpeter quite inspired.

Tom Harrell -Passages- CD 1991
This CD is most notable for featuring ten of trumpeter Tom Harrell's compositions. Few of the melodies from the harmonically advanced originals will stick in one's mind after one or two listens, but the solos are excellent (and in Harrell's case, often exquisite) and the generally melancholy moods of the advanced hard bop pieces are memorable in their own way. In addition to Harrell, Joe Lovano is in fine form on tenor, soprano and alto, Cheryl Pyle's two guest appearances on flute are a bonus and the rhythm section is supportive and alert with pianist Danilo Perez emerging as a major soloist, taking the title cut as a lyrical free improvisation duet with Harrell. An intriguing and thought-provoking session. ~ Scott Yanow Recorded at BMG Studio A, New York, New York on October 10 & 11, 1991. Includes liner notes by Ken Franckling. Personnel: Tom Harrell (trumpet, flugelhorn); Cheryl Pyle (flute); Joe Lovano (soprano saxophone, alto saxophone, tenor saxophone); Danilo Perez (piano); Ben McGlinn (ARP synthesizer); Paul Motian (drums); Café (percussion).

KITTY BRAZELTON'S REAL MUSIC SERIES MUSIC PARTY IV 12/19/93 -BURN: SONGS TO BRING BACK THE SUN a Sunday Saturnalia in celebration of the winter solstice Sunday at CB's gallery-extension of CBGB's With DADADA, Cheryl Pyle, Tom Varner, Cellovision!, David Krakauer, Roland Wilson, Christine Bard & Jim Pugliese, and others

KNITTING FACTORY KNOTES MAY JUNE 1997, ALTERKNIT THEATER CHERYL PYLE QUARTET THE CHERYL PYLE QUARTET has an abstract straight-ahead, if not ethereal quality which inspires intricate textural and rhythmic variety in the improvisations. Featuring David Phelps guitar, Stephan Crump bass, Kirk Driscoll drums and Cheryl Pyle flute

JAZZ ARISTS PERFORM A NJCVA NJ SUMMIT OBSERVER, Thursday Sept. 17, 1998 CHERYL PYLE TRIO The New Jersey Center For Visual Arts established several first for itself when it opened an exhibition for David Bate and Betty Woodman Sunday afternoon. Serenading the opening of "Paradox in Paint, Wood and Clay" were the Cheryl Pyle Trio, led by flutist Cheryl Pyle. and is their first performance at the center. Both capture elements of cubism and jazz.

NOTES FROM THE APPLE Jazz Now Interactive, August 2003
Cheryl chose to play flute as her main instrument, rather than double on it. She is a very creative woman who composes, writes lyrics, and performs her originials as often as she can. I wanted to know more about her concept of music. She responded, "I think that composing is a natural process that comes from improvising. Standards will happen if people keep composing. Hopefully it will evolve." I asked her about her lyrics. "I found that when I was working on other peoples tunes, I start hearing lyrics. I wrote lyrics for a lot of Tom Harrell's tunes, Fred Hersch, and Michael Cochrane." Three out of four woodwind players in this article lived in the San Fransisco Bay Area. (Laura Dreyer, Virginia Mayhew and Cheryl Pyle.) Lets hope they all have continued success in New York City. ----- review by Lucy Galliher

HORSEBACK CD REVIEW - 2009 -"BLOOD FOUNTAINS-FLOODS -UTECH RECORDS crystalline guitar,delicate wisps of digital glitchery drifting into a gleaming cosmic flutes, wispy female voices,deep bass pulses, black acid guitar, forming something akin to a Cocteau Twins song stripped down to an ethereal cloud of dark pop bliss pitched into the abyss." -jenks miller, HORSEBACK

"ALTAR OF OBLIVION METAL NEWS 2009- "the use of the flute,by Cheryl Pyle, on A Retreat into Delusions , allows for outpouring of more grief-stricken and agonizing emotions. The utilization of the flute as a counterpoint to the electroacoustic guitar turns the song in a tender sorrowful lament."" -metal news,

-ALTAR OF OBLIVION -SINEWS OF ANGUISH- SHADOW KINGDOM RECORDS CD NOW " the story line is an attraction in itself, being staged exceptionally well from start to finish, but it's ultimately the massive staccato riffs composed by Martin Mendelssohn and the very powerful lungs of Mik Mentor that will win over most cynics, as they conspire to produce magically morose and majestic results on highlights like "Wrapped in Ruins," "Behind the Veil of Nights," and "Casus Belli." Impressive opener "The Final Pledge" also utilizes eerie synthesizer backdrops to great effect, and the haunting "A Retreat into Delusions" features wonderful flute contributions from one Cheryl Pyle." review by Eduardo Rivadavia

AUDIO CHOCOLATE-PAUL TAUTEROUFF- SHRED ACADEMY.COM Track 9, The Journey, kicks off with a wah laden riff and a funky bassline, morphs into a power ballad and finally fades out with an ambient Moorish feel, complemented throughout by Cheryl Pyle on the flute. Also, Paul drops his best solos on the record -by Guy Onraet

INSIDE DIALOGUE- CHERYL PYLE -CD 2011 beautiful impressionism - by Arne Hiorth
"Cheryl Pyle’s credentials as a sideman with top jazz names are impeccable ( Tom Harrell, Joe Lovano a.o .) Standing firmly on her own ground now, she lets us wander into a landcsape reminding slighty of Debussy and lyric impressionism, in a setting of odd meters and a close-up, warm flutesound. Avoiding the obvious path, she creates melodies with suprising turns, but always with inner beauty and logic. This is great music for contemplating, and would be perfect for art exhibitions."
( my first cd review -feb 21 ,2011)
INSIDE DIALOGUE-11th st music - A personal journey by C von Hindte:
I have seldom ever listened to music of such capacity of expression, forming a synthesis of airy lightness and melancholy at the same time. Still more than Cheryl’s other albums “Dalle Alle”, “Til Soon” and “Surreal” which are all masterpieces of an unobtrusive yet haunting beauty each in its own way, “Inside Dialog” carries it to a still different stage. Compacted, with effects sparsely applied, but the deeper and more expressive and free in form than ever before, it is an album like a poem and a very personal view upon life and all its aspects. Next to the shadows there are Sunspots in the valleys of Manhattanhenge, New York is a Dream City and city of dreams, of loss, yet hope and love. Bravo Cheryl!
review-INSIDE DIALOGUE -march 2011

Cheryl Pyle- Inside Dialogue
review by Holly Moors>br>
Cheryl Pyle is een opmerkelijke jazzfluitiste die al een behoorlijke tijd meedraait, van 1976 tot 1980 aan de westkust van de States, vanaf 1980 in New York. In 2008 speelde ze met de Nederlander Joop Wolters in New York, wat de titel van een van de composities op haar nieuwe soloalbum Inside Dialogue verklaart: Wat een dag! Wolters gaf haar, als dank voor de samenwerking, een kleine digitale recorder (bossbr 600) waarmee ze zelf alle fluit- en baspartijen opnam voor dit nieuwe album. Inside Dialogue is, misschien ook daardoor, een intiem album geworden, een puur album ook, maar ook een subtiel experimenteel album. Soms hoor je "gewoon" mooie lyrische fluitpartijen, soms ongewone ritmeverschuivingen, en in het titelnummer schuiven er zelfs een paar werelden in elkaar - fluit, bas, gedicht. Bijzonder, breekbaar, fragiel. Het is een vrij gevarieerd album, maar tegelijk ook uitgebalanceerd. Kaal, uitgepuurd, maar in de details kun je horen dat de hele jazzgeschiedenis verwerkt en doorleefd is door deze grande dame, deze jazzfluitiste par excellence. De muziek klinkt in eerste instantie vrij uitgekleed, om het maar zo te zeggen, maar als je langer en beter luistert ontdek je dat het een ontzettend mooi geraffineerd plaatje is. Een aanrader. Cheryl Pyle - Inside Dialogue - 11th Street Music

Dutch to English translation

Cheryl Pyle is a notable jazz flutist who already runs a considerable time, from 1976 to 1980 on the west coast of the States, from 1980 in New York. In 2008 she played the Dutchman Joop Wolters in New York, the title of one of the compositions on her new solo album, Inside Dialogue explains: What a day! Wolters gave her, as a reward for cooperation, a small digital recorder (bossbr 600) that they can use all the flute and bass parts recorded for this album. Dialogue is inside, perhaps because of that, an intimate album, a pure album too, but also a subtle experimental album. Sometimes you hear "just" beautiful lyrical flute parties, sometimes unusual rhythm shifts, and the title track even move a few worlds together - flute, bass, poem. Particularly, brittle, fragile. It's a pretty varied album, but it is also balanced. Bald, refined, but the details you can hear the whole of jazz history and weathered processed by this grande dame, this jazz flautist par excellence. The music sounds initially Fri undressed, to put it so to speak, but if you listen longer and better learn that a very beautiful image is refined. Highly recommended. moors magazine -march 2011

INSIDE DIALOGUE -2011 -11th street music-
by Martin Meyer Mendelssohn Sparvath
Since 2007, with joy and excitement, I have been following the musical endeavors of jazz flutist Cheryl Pyle, and with every release, she just seems to be getting better and better showing new and captivating abilities. I am now holding in my hands her new effort “Inside Dialogue” which was solely composed and produced by the multi-talented Cheryl who this time offers us no less than 14 tracks with a total running time of approximately an hour. The rhythm section throughout the entire album is efficient consisting of rather simple bass progressions which constitute a solid foundation for the interesting and appealing flute parts ranging from subtle melancholic and melodic parts to faster and more challenging parts. No doubt about it, Cheryl Pyle is a diverse and truly gifted musician who once again proves that she, while playing her flute-leads, is capable of both playing fast and flawless runs plus slower thematic leads, all without losing focus or authenticity. Admittedly, I am not that familiar with jazz and its countless subgenres, yet I find myself compelled to this enchanting piece of music which also serves as a proof of her musical diversity and ability to blend different musical genres, not merely exploring the huge world of jazz. The only thing keeping me from giving this album 5/5 is the fact that I sometimes miss a real band behind Cheryl to take care of the rhythm section for her to improvise over. She is just too talented not to be a part of a proper line up. I am looking forward to be listening to her future releases and once again vanish into the flute-laden world of Cheryl Pyle. In conclusion, I will encourage the readers of this review to go purchase this album and join Cheryl on her sonic journey through utmost beautiful and picturesque soundscapes.

Soul Dust - 11th street music -2011
Cheryl Pyle verrast vrij snel na haar prachtige soloalbum met een freejazzplaat met band. De band bestaat naast Cheryl op fluit en elektrische bas uit Max Ridgway op gitaar en akoestische bas, en Randall Colbourne op drums. Een trio dus, verbazingwekkend genoeg, want als je zit te luisteren zonder dat je dat weet denk je regelmatig dat er een veel uitgebreidere band zit te spelen. Het is magische muziek, want hoewel je soms denkt dat ze maar wat doorkabbelen en meanderen zitten ze ongemerkt de prachtigste muzikale tapijtjes in elkaar te toveren. Dit is muziek waar je je gewoon aan moet overgeven. Ontspan, ga luisteren, laat de muziek het overnemen en ga op reis. Een mooi groeiplaatje dat al zijn geheimen pas prijsgeeft als je er vaker naar luistert. Cheryl Pyle - Soul Dust - Klik op het driehoekje om het fragment Dutch to English translation
cheryl Pyle- Soul Dust-11th street music 2011
Cheryl Pyle surprised soon after her solo album with a stunning free jazz album with the band. The band consists of Cheryl on flute and electric bass by Max Ridgway on guitar and acoustic bass, and Randall Colbourne on drums. A trio is, surprisingly enough, because if you're listening without knowing it you often think that a much broader band is playing. It's magical music, because even though you sometimes think they just trickling through stippling and they sit silently together in the most beautiful rugs musical magic. This is music where you just have to surrender. Relax, go listen, let the music take over and go on a trip. A nice growth plate reveal their secrets only when you listen more often.
april 2011

SURREAL - 2010 -Cheryl Pyle 11th street music:
Just let go and fly-If this album had not been called"Surreal“ which obviously is the most fitting title one could think to describe the very nature of the songs it contains, it could also have been called “Songs from the Inside”. From the inside of our minds at a moment when everybody is most him- or herself: in the strange stadium between still dreaming and waking up, when soul and mind float weightlessly outside our bodies whose weight we still don’t feel. What a blessing to leave this weight behind and just fly! There's no gravity any longer, space is wide open into every direction. Turn to wherever you want to go: dance in pirouettes through the vast starlit darkness while your heart beats in syncopes and swift runs as it follows the flying fishes to their constellation or pulses heavily in the all-consuming keynote of the heart nebula. And finally, as the arriving day rises in the new light and the night becomes tiny and vanishes, look up to the sky: it will be covered with lenticular clouds, a greeting from where you just came. Who would ever want to become “real” again?
Review By C Von Hindte

Cheryl Pyle and Trio, "Soul Dust"
Cheryl Pyle, flautist, can be increasingly found around New York wherever free-form music is being made. Her flute has been gracing a number of sessions I have heard about. She often plays in fleet bursts and has a vibrant tone. Today we look at a recent self-released album of hers, Soul Dust. It's a trio with Cheryl on flute, doubling on electric bass, Max Ridgway playing some nice flowing guitar lines and overdubbing an interesting acoustic bass part much of the time, and Randall Colbourne on a slinky, free-form, swinging set of drums.
There are some nice jams and a few more composed sequences. What is striking is the way Cheryl will sometimes worry and do variations on a short motive or related set of them. In those cases she is more spontaneously composing than freebopping.
From first to last this is a group that sounds well together and takes full advantage of the contrasts between Cheryl's ravishing tone, long lines and phrasing bursts, Max's single-line pointillism and chordal thrusts, and Randall's effectively busy, quietly churning drums.
It is a vivid picture of three promising musicians frozen in a point of time. It is music that is "free", tonal and mellow. I think even people who don't ordinarily go for the free-er echelons of improvisatory music will appreciate this one. Cheryl does not emerge fully formed (as from the head of Medusa) but is a work in progress. Very promising. And very interesting music.
Go to Cheryl Pyle's page to hear some samples of the music; go to her site for more info and/or to order the album.
by Gregory Applegate Edwards -2011

WONDERFUL TIMES dewey records/kazhargan -2012 cd- "What can you say to give the adequate recognition to such quintessential jazz musicians of this calibre who manage to capture the true essence of what the jazz genre is all about feel and sound like... wonderful, outstanding, a pleasure and I can`t get enough of these guys breath of fresh air!"
Adam Goodman-review 2012

WONDERFUL TIMES -dewey records/kazhargan-2012- "This excellent new jazz release is the happy result of cross-national internet file sharing -- often a recipe for clunky step-on-each-other's-foot instrumental interplay but you wouldn't know it from the seamless results to be heard here. Among the many multi-talents on display is trumpet from Cologne (Hans Peter Salentin), saxophone and guitar from Oklahoma (Brian Mitchell Brody, Max Ridgway), flute and bass from New York (Cheryl Pyle, Tony Cimorosi), electro bass from Tennessee (Sean O'Bryan Smith) -- all under the benign leadership of keyboardist Stan Zaslavsky (from Russia), who has dubbed the whole project Kazhargan World. Drummer and percussionist Papa Z (Stan's father) provides the supple rhythms which hold the whole thing together. In some ways this is a sunlit version of an intriguing, noirish ECM session from a few years back called NEW YORK DAYS, released under Italian trumpeter Enrico Rava's name but which also included a even-handed mix of American and European musicians. Likewise the sound on WONDERFUL TIMES is a post-fusion melange of late-Miles themes and other contemporary jazz tropes. But it's never overly abstract or typically avant-garde or, worse, second-hand. Instead there's a happy, dancing quality to the whole bright affair. Hans Peter Salentin's strong trumpet work (alternating on mute) predominates but it is Cheryl Pyle's fluent flute work which truly shines in the mix. Pyle also contributes some evocative spoken word interludes ("Invisible Celebration," "Irene Was Here"), her unmistakable American accent grounding this ostensible world project in some ideal, imaginary USA of the ear. Throughout Zaslavsky provides sympathetic support on acoustic and electric keys, giving ample room to his selected group of soloists, and never once hogging the proceedings.

Richard Mortifoglio nyc cdbaby reviews

Kazhargan World Wonderful Times Dewey Records 2012
So I'm digging the cover art... A nice warm sound that is earthy along with some interesting post modern riffs bordering on accessible free jazz only to discover the musicians involved in the project were never actually present in the same room at the time of the recording. Enter Kazhargan World.
An international jazz collective from Russia, Germany and various areas within the United States of America. Artists in all genres have occasionally "phoned it in" using various electronic platforms with the end result being predictable and incredibly sterile.
Not this time...
The opening tune "Wonderful Times" has an intriguing swing with a subtle undercurrent of harmonic dynamic tension. A textured sound that brings an amazing sonic depth of field to the forefront. A tune that is a critics worst nightmare and guaranteed to have label executives perched on the nearest ledge as this eclectic ensemble artfully dodges any previously accepted sub-genre jazz has to offer.
Contemporary beatnik meets post modern free jazz?
"Kazhargan" is described in the press release in this context as a word of open interpretation and an invitation for the listener to find the musical path of their choosing. "After Time" carries the cool post bop vibe of Miles Davis where trumpet virtuoso Han Peter Salentin tips his musical hat to the icon with a stellar muted trumpet and groove to match. Normally spoken word pieces that pop up in the jazz idiom are like nails down a chalk board for me but not here. The incredibly open ended sound, all most conceptual by nature is perfectly suited to the occasional spoken word piece by Cheryl Pyle. The zen like approach of Pyle captures the essence of the compositions perfectly. "Live Under Water" continues the Miles Davis ambient quality with Salentin's virtuoso like performance. The ebb and flow and effortless cohesion of this large ensemble takes on the feel of the more traditional working band while keeping in mind this recording is all done via the Internet. "Irene Was Here" is an expressive ballad and delightful lyrical gem featuring Pyle along with pianist Stan Z. An overall warmth and accessibility permeates Kazhargan World. A world that is a unique and engaging both on a visceral and cerebral level. To achieve an organic base while pushing each individual voice to achieve their own special character under these highly formatted conditions is an amazing accomplishment. Kazhargan World takes the more free form approach and creates their own post modern hybrid that is a sweeping sound scape of lyrical and harmonic ingenuity. Each musician involved is deserving of high praise. More than a recording, Kazhargan World is a jazz experience that offers the unique opportunity to become a musical blank slate and then create your own world.
Tracks: Wonderful Times; Children Of The World; Mayan Prophecy; Other Constellations; After Time; Spirit of Discovery; Invisible Celebration; Live Under Water; My Motherland; Irene Was Here; All Day Rain; Cuban Snow.
Personnel: Stanislav Zaslavsky: piano; Hans Peter Salentin: trumpet; Cheryl Pyle: flute, poems & voice; Max Ridgway: guitar; Brian Mitchell Brody: saxophone; Tony Cimorosi: ns double bass; Sean O Bryan Smith: electric bass; Papa Z: drums & percussion.

review by Brent Black- Jan 29,2012 -

Review of SOUND SCULPTURES -cd 2012
by C. von Hindte
compositions by cheryl pyle -11th street music Cheryl Pyle -flute & bass Max Ridgway-guitar cover art by Bingo Sanatra cd graphics by Max Ridgway
Sculpturing Sound “To sculpture” means to fetch a form still invisible out of a block of material, may it be marble, wood or clay – or figuratively, out of an empty canvas or even the vast realm of sound itself. That this form is invisible yet doesn’t mean it wouldn’t exist … “to sculpture” means to remove the unnecessary until only the essential remains. Sound Sculptures therefore is the fitting name for this astonishing free jazz album worked by the excellent NYC jazz musicians Cheryl Pyle (flute and bass) and Max Ridgeway (guitar), as it has been carved out of the block with endless care for the essential, for the pure sound.
This shows itself first of all in the instrumentation and sparse use of effects: the sound is mostly carried only by rhythmic, syncopic flute and bass playing which in “Candle for Grace on Avenue B”, “Abundant Stream of Blue” and “Sound Sculptures” is complemented by Max Ridgeway’s wonderfully unobtrusive, sensitive guitar playing which matches it perfectly. Especially “Candle for Grace on Avenue B” is a great example for the interesting effects the clear guitar produces together with the slightly distorted, echoing flute sound. The divergency of sound here creates a haunting tension and dynamics, an almost etheric complexion of sound, wavering in the air like a disembodied memory, finally fading.
A notable feature in the arrangement of the tunes is an augmentation in the range and variety of the instrumentation: The first tune, “Everybody Is A Fool Sometime” is a lively flute improvisation of a single flute over a single bass line as well as the second tune, “A Fragile Sketch Of Smile”. But with every following tune, the number of flute and bass layers increases until this finds a preliminary culmination in “Sendai 8.9”. This rich, sonorous tune conveys Cheryl’s brilliant, clear flute tone over three bass layers. The following, wonderful melodious track “Path Of The Suspended Judgements” continues with the sounds of four flutes enwinding each other and a captivating, dynamic rhythm – all together evoking the association of a ride on a train.
A trademark of Cheryl’s work is her poems with their profound, very personal lyrics. “Life/Death/Life”, the only track on this album containing spoken word, is surely a key to interpretation, also with regard to the titles of the other tunes. Framed by two flutes, Cheryl’s voice, slightly alienated and distorted, becomes part of the music.
All in all, Sound Sculptures is a very beautiful, pure and touching album that goes under the skin, because the reduction to the essential opens up ear and soul for the things that in modern music so often are hidden behind too many notes and too pompous effects: our thoughts, dreams and fears that we carry inside and frequently try to fight back and that here are given a silent, yet insisting voice that speaks directly to our hearts and minds. It is an album that requires all the man or all the woman with all his or her senses, it requires honest listening and letting go with the flow. It shows us the mirror, it wants us to allow ourselves that fragile smile on our faces that we hide so often behind our mask. Although probably not many of us will be able to do that as gracefully as displayed in these eleven beautiful tunes.

C. von Hindte March 25 ,2012
11th street music digital release 2012
purchase mp3s here direct from the composer

We’re living in times that enable us to keep contact via internet, and not only to keep in contact, but to cherish friendships, to share thoughts and emotions, to let others take part in our lives. There don’t seem to be borders any longer. But what about also making music “the virtual way”? Could it ever be possible without losing spirit, mood and authenticity? It seems like this …
“Wonderful Times” is a little musical miracle worked by a group of musicians from different parts of the world: Stan Zaslavsky (Russia) on piano, Cheryl Pyle (New York) on flute, Hans P. Salentin (Cologne, Germany) on trumpet, Max Ridgway (Oklahoma) on guitar; Brian M. Brody (Oklahoma) on saxophone, Tony Cimorosi (New York) on bass, Sean O Bryan Smith (Tennessee) on electric bass and Papa Z (Russia) on drums. Most of them never met face to face – and yet the result of this international collaboration is one of the finest modern jazz albums I’ve listened to so far!
The thousands of miles between the continents where are they? Resolved into a dew, into nothing but the here and now, not a physical face-to-face, but quasi a “face to face-state” of like-mindedness in music. Cheryl’s poetry in spoken words in “Other constellations” and “Irene was here”, framed only by light, swift flute runs and piano are the beautiful serious counterpoint to the wonderfully serene title track “Wonderful Times”, the other tunes lined up like pearls on a chain between those poles, a spectrum from joyful to poetic that embraces all colours.
Although there is quite some music of which I could say that it made me serene and happy by listening, this album definitely adds its own quality to it by the sheer joy of making music that just bursts out of every note and by its outstanding, highly artistic approach. It is one thing to have outstanding musical ideas – but to transform them into reality with musical means in the perfection shown here, yet warm and full of life is an achievement that is a class of its own! Congratulations!

C .von Hindte feb 9, 2012 - reviews by jazz lovers-cdbaby

FLOW -Intriinsic Records -2012 -""let go with the flow" (with Cheryl Pyle, Stan Z and Axel Weiss): "That opening beat and flute is superb and the way the bass walks smoothly in is just perfect. Then that Rhodes just underscores it all in perhaps the best way possible for the piece. As if that wasn't enough, the guitar just slips in stealthily and adds an entirely new funky dynamic to the progression while the vocal just floats nicely and calmly above it all. Stretches of this feel like Blue Note, others feel like Good Looking Records and others feel like Acid Jazz. A first class piece from the first note to the last and an exceptionally gifted union of musicians. Excellent work, real cool and real moreish. Well done to all." ” (Axel Weiss, Oddrun Eliki, Arne Hiorth, Cheryl Pyle, Stan Z, Sean O'Bryan Smith)
Liame Dethridge, London - SoundCloud-reviews by jazz lovers

Wonderful Times -cd- gapplegate music review-feb 24, 2012
Kazhargan World is a cooperative unit made possible by the internet. Wonderful Times (Dewey Records) is the product of the cooperative project. The members discussed and arranged the music via electronic communication, then presumably recorded each part singly and synched them together as a finished product. The group consists of Stan Zaslavsky on piano, Hans Peter Salentin on trumpet, Cheryl Pyle on flute and recitation/poetry, Max Ridgway on guitar, Brian Mitchell Brody on sax, Sean O'Bryan Smith on the electric bass, and Tony Cimorosi on doublebass. And finally on druma and percussion is Alesandr Zaslavsky. The album goes from a contrapuntal chamber jazz with interlocking piano,trumpet, flute and guitar against a swinging walk to more contemporary jazz-lyric-exotica, longing poetics from Ms. Pyle, and an overarching aesthetic of creativity. The soloists work together well and sound quite good; their interchanges are most certainly a high point of the disk. The compositional elements are quite interesting and worth hearing too. In the end you have a disk with some strikingly new ways to get somewhere, a lot of ground covered, excellent musicianship, good writing and arranging. The four-horn front line of Zaslavsky-Salentin-Pyle-Ridgway impresses. It's a very pleasing album with plenty of substance to it. Give it a listen.

WONDERFUL TIMES -Dewey/kazhargan 2012 -"Kazhargan World, is an amazing example of the future of media - musicians separated by 10,000 miles collaborating to produce original works that all of you will enjoy." Sam Rahimi (President, CEO, and D.F.A. at iBroadcast.TV)

Cheryl Pyle- Sound Sculptures -review by Gregory Applegate Edwards
"Cheryl Pyle's new album Sound Sculptures (self-released) pulls together where she is as an artist--flautist, bassist, composer, poetess. It's twelve pieces of pure Cheryl. Her compositions are chamber jazz in the best sense of the term. Like Giuffre she maps out musical motifs in bare-boned contexts--often her flute and electric bass in combination--and builds improvisations around the thematic material. She has a beautiful tone on flute and an ear for phrasings that have new music elements as well as those of "jazz." Some tribal bedrock can be felt too in the twists and turns of some of the riffs.
Max Ridgway joins her on guitar for several tracks for good result. And she overdubs two or more flutes at times for rich harmonies. And sometimes her flute has some electronic enhancements. That works too. Her poetry, one example here with electronic flute compositional framing, is soulful and full of feeling.
This is music. Cheryl Pyle music. Expect something else and you wont get it. It takes a few listens to find your balance because this is not a typical "jazz" album. But once you do, you have the experience of entering an original world that has some marvelous flute playing, some conceptual uniqueness and compositional frameworks that stand out. Give it a listen! Google her and you can find out more. "

Thursday, July 26, 2012

The New City Jazz Record
March, 2013. “New York @ Night”
Sunday nights at ABC No-Rio are always unpredictable, but the Feb. 10th benefit (to help fund
new building construction) was particularly carnivalesque, mainly because host/alto saxophonist
Blaise Siwula scheduled each act into 10- and 12-minute sets, ensuring variety yet forcing performers to make their musical ‘points’ succinctly. After an informal opening jam, multi-instrumentalists Kali. Z. Fasteau and Daniel Carter set a high bar for those following. Stand-out moments included: five taut sketches by Tenor saxophonist Jason Candler and tuba player Jesse Dulman; three pieces by soprano saxist Rocco John Iacovone and bassist Nicolas Letman-Burtinovic; a duet by cellist Diana Wayburn and duduk (Armenian double-reed) player Edith Lettner; an exciting matchup with Siwula and guitarist Cristian Amigo; an impromptu set with four saxophonists (Carter, Siwula,Candler, Iacovone) and pianist Constance Cooper; a ‘free-funk’ outing with guitarist On Ka’a Davis and drummer Vin Scialla; the avant-improv theater of Anne Bassen and Emmanuelle Zagoria; a challenging but
riveting piece by guitarist Chris Welcome; Dikko
Faust’s trombone painting; flutist Cheryl Pyle’s trio
with Carter and Letman-Burtinovic; a low-end duet by
bassoonist Claire de Brunner and bassist Jochem Van
Dijk; Siwula and Iacovone’s sax summit; pianist Evan
Gallagher and drummer David Gould’s rowdy têtê-àtêtê and the gentle closure of violinist Cecile Broche
and bassist Francois Grillot.
Tom Greenland- New City Jazz -Record March, 2013

Review: Green Underworld-2013
With the release of “Green Underworld”, their second album after “Soul Dust” in 2011, the already well-proven collaboration of the NYC jazz musicians Cheryl Pyle (flute), Max Ridgway (guitar) and Randall Colbourne (drums) has reached a new height. Like “Soul Dust”, also “Green Underworld” contains improvised jams and in this respect follows its antecessor. But this is more or less the only resemblance, because musically, “Green Underworld” walks its very own ways. Just as free in form as “Soul Dust”, it is yet a true “concept album” and one great reverence towards modern art of the 20th century – towards a modernity that is timeless as it still influences the present.
The album consist of nine tunes, which all seem to be somehow related to each other in a way – in reference to the subject of arts, but as well among each other concerning their structure: always three of them form a “couplet”, a musical and semantic unit.
The first of these couplets consists of three musical homages to three outstanding artists: Joan Miró, Paul Klee and Karel Appel. The first one begins with a question: “Do you know Miró?” “Yes, of course”, you’ll probably answer. But this question is repeated again, spoken word underlined by a quivering flute guided by an almost sitar-sounding guitar and drums with the sound of swift bare feet running, like a bird flying in front of you, talking you into trying to catch it while by and by you’re going astray in the garden of the surreal – and, while finding out that Miró’s seemingly so clear symbolism is in fact a jungle, you begin asking yourself: “Do I really know Miró?” This masterful tune is a true surrealist painting in music, because it leads you astray. And you can only tell that the answer to the question is “no” … because how could you really know somebody whose work you get lost in?
The next track belonging to this couplet, “Music for Paul Klee”, follows this line: spoken word and “sitar sounds”, an expressionist musical painting of a temple garden … but yet it is an illusion that you see in the magic mirror, because behind the peaceful scenery there’s a wild, metallic world expressed in a furious musical finale.
“Music for Karel Appel”, the third and last track of this couplet, gives a true musical expression of Appel’s abstract expressionism – rhythmic, syncopic drums and guitar, with “edges” and “angles”, but layered by the bright, flowing flute tone which adds colour and soothes the rock underneath.
The second couplet consists of three tunes that are dedicated to the question of what the principles of art and the essence of artistic expression are. The title track, “Green Underworld” in my opinion provides the key to the understanding of what this album is about: the artist’s dedication towards his art and the processes of creating. “Green Underworld” actually reminds me of a painting of Max Ernst: “La Dernière Forêt”. A jungle forest of “the last things”, end time sensation, a kind of green Hades from where nobody ever returns. Well, nobody? In fact, one mortal came back: Orpheus the singer who with his voice could revive the dead. Of course, a musician … an artist! Maybe the first one in the long row who detected the principle of all art: immortality. The divine spark of inspiration that transcends the mortal man who creates, making him a genius who transforms his idea into a work of art and by doing so, is survived by his creation, thus becoming immortal.
In this sense as well the second track of this couplet, “Inner Seek”, can be understood: the process of creating as a result of this inner seek, transforming the visions fetched from the realm of ideas into reality. It is the third and last track on this album containing spoken word, and in this way and by the means of musical expression is related to “Do you Know Miró?” and “Music for Paul Klee”: here as well appears the quivering, trilling flute, a guide and a fen fire at the same time, like the sound of a cricket that you don’t know which direction it comes from. In this track, the concrete is left behind, the jungle is now no longer in the meta-level of the concrete painting, but on the artist’s mind who is struggling for understanding and getting hold of his idea – to be able to make it a part of reality.
The final track of the second couplet, “Nine Dreams Nine Dragons” became “visible” to me when watching on YouTube the video of this tune which contains some amazing artwork: Chinese calligraphy ink paintings. Dragons – or letters? Or both? A question of perspective!
The tracks of the third couplet seem to me like another musical tryptichon – like those of the first and second couplet, they can each stand by themselves, but together they form a bigger picture: Breaking the taboo and asymmetry – in short, creating imperfection – is the “subject” of this couplet and the most crucial expression of an individuality which is the trademark of present art.
Art lives of breaking taboos, crossing the borders between the “Dos and Don’ts”. A beautiful thing cannot necessarily be called a work of art. The impression of the shocking and disharmonic, even the ugly can be much stronger, because it breaks up with conventions, thus leading to new ways of perception. Listening to “Path of the Taboo”, this thought came to my mind. Varying on a strongly syncopic, up tempo pattern, it creates a feeling of uneasiness: you’re lured out of your comfort zone. Disharmony, in music as well as in arts in general, is a necessary “spice to the soup”: It creates active perception, discussion – conscience.
“Magnetic Entities” with its fast flute runs and counter-rhythmic guitar and drums falls into line with “Path of the Taboo”, being its counterpart regarding the way of musical expression as well as in respect to the meta-level of interpretation. Magnetic – this means “between two poles”, the positive and the negative, attraction and repulsion. A work of art as an entity never displays only one of these aspects, it always moves between those two poles – it is the asymmetric, the seemingly imperfect, the little flaw that enables perfection.
“Io, Moon of Jupiter”, the final track of the album, directly follows “Magnetic Entities” and dwells on its subject: unlike other moons, Io doesn’t move on a circuit around its planet, but on an ellipsis, thereby crossing the magnetic field of Jupiter. Along with this goes a strong volcanic activity. It is the embodiment of a thing that, devouring itself, at the same time renews itself by bringing forth what it carries inside and yet can only do that while it depends on something much bigger. Isn’t this a perfect metaphor for the artist himself? Musically, it is an eruption of sound: this time a more reluctant guitar, but prominent flute and drums interplaying, flowing, rolling, quivering, trilling space music.
“Green Underworld” is an OUTSTANDING work, for the ear as well as for the mind. It is not easily accessible music, it requires close listening and reflection, but if you let yourself fall and open up to it – a marvelous thing, absolute avant-garde free jazz at its finest. Highly recommended!!

review by C. von Hindte Feb 2013

Review by Matt Cole- Battleship Potemkin
On Saturday, 16 February, 2013
THE DISSIDENT ARTS ORCHESTRA, provided an improvised score to a newly restored version of Sergei Eisenstein’s seminal film Battleship Potemkin at the 17 Frost Theatre of the Arts in Williamsburg Brooklyn. Led and conducted by THE RED MICRPHONE‘s vibraphonist/percussionist John Pietaro , the Orchestra included on this night Nora McCarthy on vocals, Cheryl Pyle on flute, Quincy Saul on clarinet, Rocco John Iacovone on soprano and alto saxes, Patrick Brennan on alto, Ras Moshe on soprano, tenor and flute; SoSaLa’s Sohrab Saadat Ladjevardi (making his debut with the DAO) on tenor sax and vocals, Alon Nechustan on accordion, Javier Hernandez-Miyares on electric guitar, Laurie Towers on electric bass, Nicolas Letman-Burtinovic on double bass, and Hollis Headrick on drums and percussion. With such a large ensemble, even one who for the most part has played together consistently before, it’s always important to make sure that everyone’s on the same page, and conductor Pietaro performed this duty quite well. There were several cues that he could give, for example having the band play around a certain tonal center, or time signature; another cue had the band play the “Internationale” (generally when the red flag was raised); alternately, Pietaro could bring instruments in and out of the mix with a good deal of freedom for them to choose just what to play at the moment. The Orchestra rewarded this confidence by playing very well together over the course of the evening as a cohesive and synergetic unit.
The evening started with a pre-movie Overture, during which the band went through a shortened version of the overall shape of their music for the movie, albeit with different musical details, with Pietaro facilitating well from his conductors spot (when he wasn’t adding vibraphones or percussion to the soundscape). Iacovone’s soprano sax began the music, and the rest of the band added layers of overlapping long notes over pulsating waves of drums (quite appropriate for a battleship movie). On a micro level, there was actually a fair amount of movement for such a section, but the overall effect was that of long notes, and that’s a pretty neat trick. Soon thereafter, we heard vocalist McCarthy take the lead for the first time with a series of rich wordless tones over an urgent rhythm in 7. McCarthy demonstrated a very impressive tonal range, and soon the band came in with cacophonous interplay, starting with alternating pairs of instruments (e.g. alto-soprano, tenor-tenor) conversing, and then the pairs becoming threes and fours, until the whole band was involved. Then, out of this chaos a jazzy, swingy waltz emerged, at once out and yet locked into a hard swinging pocket. It was near this point that the advantage of having two basses became apparent, as one would lock down the bottom while the other played freely with the band. Finally, the band played some variations on the “Internationale.”
Then the movie started. A lot has been written about Battleship Potemkin, so as someone who hasn’t taken a film class since about 1990 (my big paper was on the Rocky Horror Picture Show), I won’t add to that. The film was shown on 3 screens, forming 3 sides of a square—the main one was for the audience, and the other two served to help the band members (arranged in a ‘U’ shape underneath the screen) see the action on the screen and tailor their playing accordingly. The band did an impressive job of enhancing the silent drama on the screen, providing an urgent, off-center beat and jazzy tonals when the crew of the ship begins to mutiny over maggot-infested beat. (It was at this point that I noticed the band pulling a neat musical trick of playing a 2-2-3 rhythm and then seamlessly morphing it into a 3-3-2.) When there was drama and potential execution on the deck, the band slid into a loose and swingy waltz, and went free and chaotic during the deck fight which ensued (side note: the head priest on the ship reminded me of the old man guarding the bridge of death in Monty Python and the Holy Grail). One of the musical highlights of the evening came during the funeral scene for the hero, who had died leading his shipmates in revolt against their cruel and clueless officers, as the band played a slow dirge, free and very together, with a hint of waltz underneath. Over this, McCarthy sang, and Saadat chanted in Farsi. Conductor Pietaro did a nice job over the course of the soundtrack of bringing instruments in and out, providing good dynamic contrasts. As the film ended, with the red flag flying over the Potemkin and the other ships’ sailors joining in, the band played the “Internationale” one last time.
In all, this was a quite impressive multimedia presentation by THE DISSIDENT ARTS ORCHESTRA. The musicians played well together, making a cohesive work from improvisation, their ears, and their able conductor, and making the music enhance and otherwise go quite well with a truly classic film that has to rank as one of the most important in the entire film canon. The DAO plans more such mixings of old classics with new, improvised music this year; it is recommended that fans of film and improvised music make an effort to seek them out.
March 2, 2013

Green Underworld (11th Street Music CD 2013) is a moody jazz-contemporary offering by the distinctive trio formed by Cheryl Pyle, flute and poetry, Max Ridgeway, guitar and acoustic bass, and Randall Colbourne, drums.
It has free elements, poetic depth and improvisational expressiveness. There is a new music influence that can be heard especially in some of the ravishing flute lines and guitar explorations. It's a music of mood, a quietly spacey journey through some murky green depths, a kind of drifting toward a peace of understanding, a pieced-together landscape of seaweed and seafoam.
All three collectively produce a music of originality, with Ms. Pyle's flute and quiet poetry evoking the modern art of Miro and Klee, gentle abstraction, angular lines. The three together produce a modern avant melange that goes about its way with an avant mellow-dee scape that relaxes yet is three-square in a free innovative zone, a sort of improvised jazz version of Morton Feldman's quietude. Flute, guitar and free, quiet, inner-directed percussion meld with Cheryl's recurring poetic action-imagery to set out a special place for our ears and inner imagination.
It's very easy to hear and puts one in a zone that feels good. If you come for the flute, which you should, you'll leave with a feeling of group stasis, of steady-state wonder at the mysteriousness of existence, of the floating oceanic vastness we live surrounded by.
review by Gregory A Edwards- May 2013

Dewey Records - Hans Peter Salentin CD , Sitting at the Lake ''
( co S -Press , 2013) -German to English translation.
Sitting at the Lake '' is the latest work of living in Bad Munster Eifel composer and musician Hans Peter Salentin .This time he has but a very large number of international fellow musicians gathered to record this music.These pieces Salentin was inspired to his often long journeys through Europe.
So then came up with the idea , this CD , Sitting at the Lake , with international friends .
For this purpose he invited now Max Ridgway ( USA Guitare ), Toni Cimorosi (USA bass), Yves Ferrand ( Swiss- Sax) , Tato Gomez (Chile -Bass, Guitar , Vocals, Programming) , Benni Freibott (E - Guitar , Vocals ) , Stan Zaslavsky (Russia piano ) and the New York flutist Cheryl Pyle ( USA flute , vocal and lyrics ) a .The resulting mixture here reflects the loungy , relaxed spirit of the times .
At the same time this music has something timeless , what is in the title piece , sitting at the Lake '', can be sung by a great Benni Freibott find again .A CD that invites all to relax.A fairly wide range of music, with many small and large peaks.Salentin's clever arrangements and his playing is one of the best that you can hear here .Not least, the tribute to Miles Davis , We Want Miles '', here are a great many Miles Davis disc titles into a new text processing ( Chery Pyle ) and Salentin 's trumpet is a single reminiscence of the Master.With his old friends Salentin has brought this CD on the way. Tato Gomez ( Mixing ) , Manni Struck ( master) and Hans Jörg Scheffler ( Art Design video). A highly recommended CD
I Tunes , CD Baby for download.

Dewey Records presents Hans Peter Salentin CD , Sitting at the Lake''
(co S-Press 2013)
Sitting at the Lake'' ist das neuste Werk , des in Bad Münstereifel lebenden Komponist und Musiker Hans Peter Salentin.
Diesmal hat er eine doch sehr große Zahl internationaler Musikerkollegen versammelt, um diese Musik aufzunehmen.Zu diesen Stücken wurde Salentin auf seinen oft langen Reisen durch Europa inspiriert.
So kam dann auch schnell die Idee , diese CD,,Sitting at the Lake, mit internationalen Freunden aufzunehmen.Hierzu lud er nun Max Ridgway ( USA-Guitare),Toni Cimorosi (USA- Bass ), Yves Ferrand ( Swiss-Sax), Tato Gomez ( Chile-Bass,Guitar,Vocal, Programming), Benni Freibott ( D-Guitar, Vocal), Stan Zaslavsky ( Russia-Piano) und die New Yorker Flötistin Cheryl Pyle ( USA-Flöte, Vocal und Lyrics) ein.Die hier entstandene Mischung spiegelt den Loungigen , entspannten Zeitgeist wieder.
Gleichzeitig hat diese Musik etwas zeitloses, was man auch im Titelstück ,,Sitting at the Lake'', gesungen von einem großartigen Benni Freibott, wiederfinden kann.
Eine CD, die alle zum Relaxen einlädt.Eine durchaus vielfältige Musik, mit vielen kleinen und großen Höhepunkten.Salentin,s intelligente Arrangements und sein Spiel gehört zum Besten, was man hier hören kann.Nicht zuletzt die Hommage an Miles Davis ,,We want Miles'', hier werden sehr viele Miles Davis Plattentitel zu einem neuen Text verarbeitet ( Chery Pyle) und Salentin,s Trompete ist eine einzige Reminiszenz an den Meister.Mit seinen alten Freunden hat Salentin diese CD auf den Weg gebracht. Tato Gomez ( Mixing), Manni Struck ( Master) und Hans Jörg Scheffler ( Art Design-Video). Eine sehr zu empfehlende CD. I Tunes, CD Baby for Download

POST FICTION-2014- Fata Morgana : "Sweet as a black bird on a sparkling rain morning. Never guess these guys weren't playing together in real-time." Post Fiction 2014 cd -Dewey records
© All About Jazz -Feb 2014

Post Fiction -cd 2014 -The internationally diverse ensemble Kazhargan World comes together with a new one that shows the band evolving and growing. Post Fiction (Dewey-Records LC24579), the latest, combines a sort of middle-period Miles Davis feel with nice composition elements, some excellent individual and collective soloing and a loosely hip rhythm section that swings and rocks appealingly.
Cheryl Pyle recites some spacy poetry in her very own way and plays a warm and contemporary sounding flute--also in her very own way. Stanislav Zaslavsky writes a good deal of the material and plays piano with smarts and flair, sort of post Hancockian. Hans Peter Salentin plays trumpet with a sound that certainly owes something to Miles, especially on muted horn, but the notes are his and nicely done. Sean O'Bryan Smith is on electric bass. What is interesting with him is that he can articulate funk riffs but then sometimes improvise between and around them in ways that make him a part of the improvisatory action. Max Ridgway plays a bluesy, nicely laid out electric guitar. Laurent Planells has for this band the ideal combination of free looseness and funk togetherness, sometimes all at once.
I like this band especially when they collectively improvise. They know when to come in and when to drop out so that it works really well. The written lines are very nice to hear and extend the rock-funk nexus in good ways.
That puts it all together for you as far as what to expect. It's something many people will find accessible, I would think, but it has intelligence and soul enough that you find yourself liking it more the more you hear.
It's not super-electric and it's not super-eclectic. There is a terrific balance between torque and expressive soul-lyricism. So hear it!
Modern Art - 2014- 11th street music
The trio of Cheryl Pyle, flute, Max Ridgway, electric guitar and Randall Colbourne, drums, is no stranger to these pages. I covered on November 10, 2011 their album "Soul Dust"; "Green Underworld" was reviewed on these pages on May 2, 2013. They return with the latest, "Modern Art". It is for now a download only release, available as mp3's at It's another good one, having as the encompassing theme modern artists and their work. Each track is a free improv dedicated to a particular artist. The music has a lightly electronic component here and there, mostly if not all a transformation of Max Ridgway's guitar via effects and filtering, according to my ears. It's free-flow, free-time collective improv mostly all the way, with a very nice interplay between flute, guitar and drums in a relatively laid-back zone that makes for good listening. Cheryl in her very original way works around selected motifs in gently persuasive, new music terms that nevertheless have jazz flow and continuity. Max counters with lines and chords that have a personal stamp and a wide tonality. Randall keeps energy flowing with nice free-time and/or pulsing essays in percussive sound. They all work together to a highly ear-stimulating end. This is one of their best, maybe the best one, ever. It's an excellent listen.

Silent Noise On Saturn- 2013 Intrinsic records
Maybe it's because we are in the thick of the present but it seems to me that there are ever more possibilities in the combination of styles and genres than there were years ago. Noticeably to me, rock has to some extent disengaged itself from the pop parade and taken its place alongside jazz and classical as music more outside the mainstream than previously. You look at the top 20 in pop at any given point now. How many are rock? Much less than 30 years ago. (You might say the same of soul, as compared to hip-hop, but that's another discussion.) So perhaps as a result, there is a continued intermingling of styles happening in all kinds of permutations. I find it interesting. Turning to today's album we see an example of the confluence of styles. Axel Weiss and Cheryl Pyle join together for Silent Noise on Saturn (Intrinsic Records). Cheryl plays flutes here in her own special way; Axel comes at us with a battery of electric and acoustic guitars plus keys and such. What's especially interesting to me is the spectrum of styles--from free to jamband to bossa and so forth. Each cut sets up its own world, with Cheryl's beautiful tone and cellular improv phrasings. Axel shows great versatility, driving the music from a rock jamband sound to classical, jazz and folkish modes. It's mood music for your life. But it has tensile strength and gentleness with content that is substantive. It may not be the masterpiece of the century (how many times is that happening, anyway?) but it floats its way into your ears in a very welcoming way. Recommended!

Modern Art - 2014- 11th st music-Review By Chris Haines Trying to capture the essence of something visual through sound can be a difficult and unenviable task. Yes, plenty of purely instrumental music has been written by musicians which have successfully become known for this, obvious examples being the pastoral symphonies by famous classical composers Beethoven and Vaughn Williams. However, can the visual really be captured by sound (not really) or is it more the feeling and emotional response that is conveyed through the medium that allows us to then recreate a visual spectacle of our own making, which is closely related to the original stimuli (much more likely). To take this a step further, if the visual stimulus isn’t something that can be readily conjured up in our imaginations and is already much more abstract to our visual senses does this then make the task of recreating this in music easier or harder? This album by Cheryl Pyle (Flute), Max Ridgway (Guitar & Guitar Synth) and Randall Colbourne (Drums) offers thirteen pieces of music for various modern visual artists such as Willem de Kooning and Jackson Pollock. Having a keen interest in modern abstract art it was hard not to think of the visual element and to somehow compare the music with the more famous examples of the artists work. So, does the music capture the artists’ oeuvre? This is always going to be a completely subjective answer but no more than when normally reviewing music, which is completely down to the individual’s taste and preferences anyway. There is a great overall feel to the playing on this album, which has a very relaxed and cool vibe to it. The music stylistically seems to float between free jazz, contemporary classical and free improv, which the trio exploit to good effect from piece to piece. The sound of the flute in jazz is an instrumental force which should be utilised more, especially based on Cheryl Pyle’s playing. Also she is not adverse to stepping aside and allowing the guitar and drums to take centre stage on some of the tracks. The angular melodies are delivered by the flute and guitar in a very musical and smooth way particularly on the more free jazz orientated tracks that have a good swung feel to them. Taken on it’s own the music on this album is wonderful and is a pleasant listening experience. With regard to the inspiration for each of the pieces and how the music relates to this, I personally, have mixed feelings. While I can relate to the piece Music for Willem de Kooning as a general audio spectacle for the artist and his work, not all of the pieces on the album work for me in this way. For example, Music for Mark Rothko doesn’t conjure up the monumental nature of his work or the tragic struggle within his life, with the change of instrumentation to guitar synth seeming like a token gesture to do something different. Also, the piece for Pollock doesn’t get anywhere near the intensity of the artist or his work that contains much rhythm and complex linearity and motion in the paintings which isn’t reflected in the music. However, this doesn’t make this a bad album and as I have already stated there is a great feel to this music. I also enjoyed being introduced to a few artists whose work I wasn’t familiar with such as Zao Wou-Ki. The best thing is not to get too bogged down with comparisons between the artistic mediums and just enjoy the music.
by Chris Haines 2014

Jazztimes article-
At Café Stritch, Bay Area vocalist Kenny Washington, who ranks amongst the finest male jazz singers in the world, dug into American Songbook standards featured on his upcoming album with saxophonist/arranger Michael O’Neill, soaring through “All the Things You Are” and wringing every gram of pathos out of “Alone Together” as if they were written for his soul-drenched voice. Over at the Fairmont Hotel’s Club Regent, another underappreciated singer, Vancouver’s Jennifer Scott, performed with the bi-national band Crossing Borders, featuring her husband, bassist Rene Worst, and three South Bay stalwarts, saxophonist Kristen Strom, her husband, guitarist Scott Sorkin, and drummer Jason Lewis. Opening with “Smile” as a duet between Strom and Scott, who also plays piano, the band played several pieces from the new album Sojourn, including a ravishing version of Hersch’s “Rain Waltz” (with lyrics by Cheryl Pyle).

Biggi Vinkeloe/Cheryl Pyle flute Duo- Raw Sound Sweden Live at Downtown Music Gallery-2015-11th street music
Last March 15th avant jazz improv reed master Biggi Vinkeloe was visiting New York to touch bases and do some playing. On that night she carried her music to the Downtown Music Gallery in Manhattan for two segments. The results are available as a download album entitled Flute Duo/Raw Sound Sweden, Live at Downtown Music Gallery (11th Street Music). This is a prime "women in the new jazz" showcase with some very lively music. The main part of the night is the Raw Sound Sweden segment, with Biggi on alto sax, Elsa Bergman, bass, Anna Hogberg, alto sax, Malin Wattring, tenor sax, Signe Dahlgreen, tenor sax, Anna Lund, drums, and two important resident New Yorkers--bassist Shayna Dulberger and flautist Cheryl Pyle guesting. It is primo open-ended avant jazz with lots of saxophonics in the new and newer zone and a very structured sense of freedom. The second half is devoted to Biggi and Cheryl in a "Sonata for Two Flutes," a duet with a significant meeting of Cheryl and her patented flute ways and Biggi in her own zone. It is music of a special sort, Biggi carrying forward her own linear sensitivity with some very choice co-musicians. This is a good one for those (and hey, that should be everybody) who want to keep abreast of the women in jazz movement. Nice sounds, bravo!
by Grego Applegate Edwards Oct 21, 2015

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