Michael Vlatkovich – trombone / compositions

Tom McNalley – electric guitar

Dominic Genova – electric bass

John “Vatos” Hernandez – drums / percussion

Fun is also the apt label for VLATKO Subjective Experience In A Commercial Free Zone (pfMENTUM CD085). The Top Jester is of course again Michael Vlatkovich, this time his slide speaks in collaboration with Tom McNalley on guitar, Dominic Genova, on electric bass volumes, and John 'Vatos' Hernandez on drums.

This mohawk headed character ‘Vatos’ is filled with his experiences at Oingo Boingo (1978 - 1995), the cult B-movie playground of Hollywood celebrities Danny Elfman, and Tito & Tarantula (1996 - 2010), the house band in the Titty Twister for Salma Hayek's snake dance. This quartet (with less trash) but in humorous mood supports as 'Vatos' impresses with a finesse that few would risk.

Instead of commercial potential, there are many sophisticated  instrumental surprises, one of which features McNalley as ‘Innocence from Portland’, where Vlatkovich, not without reason, lured him in 2004 to an LA already full of musicians where he introduced him to the mysteries of Ornette Coleman with the intense Sonny Sharrock and Nels Cline participating. With jazzy Zippy Fingerpicking like Kevin O'Neil he prances about breakneck Slitherblade, until transulcent wahs and squeals cascade boldly from his instrument.

With all his rhythmic trotting and chirping Vlatkovich makes a memorable tune out of anything. (He could summon music from writhing snakes.) And then he manages to showcase McNalley (and he is seen here with an admiring grin).

This music will inspire mental (ironic) agility, and even dreams… like 'If only maybe ...'

[BA 82 rbd]  Translated from German with help from Google.

The quartet Vlatko led by Michael Vlatkovich who is obviously back with his beloved trombone is also responsible for writing the compositions. Dominic Genova (electric bass), John 'Vatos' Hernandez ([Oingo Boingo], drums, percussion) and Tom McNalley (electric guitar) assist him in a set that leans closer to jazz. Improvisation again gives the central and leading role on this album for the strings pickers, McNalley lead. His guitar work meanders between rock, funk and experiment and is somewhat at odds with the jazzy way of drumming and sporadically emerging eviscerating trombone of Vlatkovich. Just because of these contrasts the eight pieces insist our attention. Vlatkovich is difficult to pin down so just one man therefore remains one of the most interesting figures in this scene.

(Patrick Bruneel)  www.pfmentum.com

TRANSLATION:  Google & CMB

A new quartet led by trombonist Michael Vlatkovitch, more in a jazz-rock vein this time, with lots of room for guitarist Tom McNally and his wah-wah pedal. A bit show-off of an album, but well structured, with variations in intensity and angles and all that. Energizing.

François Couture:  http://blog.monsieurdelire.com/2014/10/2014-10-23-kuhneullmann-ultima-armonia.html

Michael Vlatkovich lets his trombone lead a team of Tom McNalley/eg, Dominic Genova/eg and John “Vatos” Hernandez/dr through a collection of exciting and fresh originals. A hip bass line grooves on “Strodaad” while a deep drum rivulet permeats “Knowers…” The band can also get a bit frisky as ‘bone and guitar fight it out on “Motely Mountebanks” and the funky “Undoug Fug.” Blues and bop get into the act with a toe tapper “Saint Something…” Irreverent, but not irrelevant.

George W. Harris October 9, 2014:  http://www.jazzweekly.com/2014/10/dem-bonesvlatko-subjective-experience-in-a-commercial-free-zone-here-here-here-here-here-and-here/

With ‘Subjective Experience in a Commercial Free Zone’ we are more close to jazz realms. Vlatkovich is here in the company of Dominic Genova (electric bass), John ‘Vatos’Hernandez of Oingo Boingo-fame (drums, percussion) and Tom McNalley (electric guitar). Recorded a few months after the Here & Here & Here-album. It is especially McNalley’s guitar that impresses. He pulls a distorted, ‘plastic’ sounds from his guitar. His playing betrays experience with rock, funk and harmolodics. But McNalley developed his very own obstinate style. Great player. But also the others have their tricks and make this is a very enjoyable trip. From time to time it has swing and a groove, but with equal pleasure they depart into more free zones .

(DM)

Address: http://www.pfmentum.com

West Coast purveyor of novel jazz concepts, trombonist and shrewd improviser, Michael Vlatkovich skirts the perimeters of expressionistic jazz rock and most all things jazz related, featuring electric guitarist Tom McNalley's impressive, quirky off-kilter voicings and stinging expeditions. It's a production that's framed on the outside schema, as the leader's compositions present a brooding and flourishing set of circumstances, built upon layers, abstractions, and the requisite improvisational encounters.

The lengthy album title duly implies that Vlatkovich is blending a free form improv mindset into works that are structured and attainable. Hence, we get the best of both jazz worlds. The program is modeled with asymmetrical rhythms, swaying motifs and simmering ascents. Otherwise, McNally is a strong foil for the leader. On "In The Interest of Only Those Concerned," he comps with breezy chord clusters while adding a rather polite overtone, as the quartet eventually reformulates the piece, decorated with drummer John "Vatos" Hernandez' Latin overlays. However, the guitarists turns up the heat, armed with a foreboding search and conquer solo spot, followed by bassist Dominic Genova's exploratory lines.

Vlatkovich tempers the frothy proceedings down a few notches on the ballad, "If Only Maybe Were a Probability," with his vividly soulful lines, supported by the band's warm accompaniment, but" Saint Something or Our Lady of Whatever" gels to an armada of mid-tempo bop phrasings that are deconstructed during the bridge section, where the guitarist's animated and penetrating solo casts a sense of despair. But Vlatkovich flips the scenario into a heated and swarming vibe via his blustery, hardboiled attack. It's an engrossing session that ages well, as slight revelations uncannily crop up on additional spins.

Track Listing: Motely Mountebanks; In the Interest of Only Those Concerned STOP; Strodaad; Sometimes Always; If Only Maybe Were a Probability; Knowers Don't Know So Guessers Guess; Saint Something or Our Lady of Whatever; Undoug Fug = -(doug unfug).

Glenn Astarita,  All About Jazz

VLATKO is the electric quartet of volcanic hyperactive Los Angeles- trombonist Michael Vlatkovich, shown here recorded between March and April 2014. This music exists in a typically abundant and visceral Vlatkovich collaborative in a little roundabout of full-bodied music, sometimes even a bit superabundant, more often brilliantly resolved within ultimately physiological terms for a staff like that.

The leader on the trombone is present in every fold, every crevice, every meander of the work, scoring and often just with his presence the most compelling moments of the songs, (specifically - we would say - the songs " Strodaad, " " If Only Maybe Were a Probability " and " Undoug Fug = - ( Doug Unfug ) ) , although all three partners are entirely present to give firmness and solidity to a music that guarantees a casual listening but not slavish. Often, indeed, liberating.

Alberto Bazzurro, AllAbout Jazz 02-03-15

VLATKO AND HERE HERE HERE

DEM ‘BONES…Vlatko: Subjective Experience in a Commercial Free Zone, Here & Here & Here: Here & Here and Here

A couple discs with trombones. Slide on in!

Michael Vlatkovich lets his trombone lead a team of Tom McNalley/eg, Dominic Genova/eg and John “Vatos” Hernandez/dr through a collection of exciting and fresh originals. A hip bass line grooves on “Strodaad” while a deep drum rivulet permeats “Knowers…” The band can also get a bit frisky as ‘bone and guitar fight it out on “Motely Mountebanks” and the funky “Undoug Fug.” Blues and bop get into the act with a toe tapper “Saint Something…” Irreverent, but not irrelevant.

Then, you’ve got Here & Here & Here which is made up again of Vlatkovich, but also with Anna Homler/voc-perc, Jeff Kaiser/tp-fh, Scott Walton/b and Rich West/dr on fifteen short but sweet free flying forms of frenzy. Vocal grunts from Tibet are on the title track, while horns growl like lions on “”Oranger Than Happiness.” Percussion goes free form on “Spark” and some Mahlerian moments pop up on “Salute.” Artsy to the point of musical Jackson Pollack!

JAZZ WEEKLY by George W. Harris, October 9, 2014

http://www.jazzweekly.com/2014/10/dem-bonesvlatko-subjective-experience-in-a-commercial-free-zone-here-here-here-here-here-and-here/

Rare t-bone

Michael Vlatkovich has recorded with all sort of combos and collaborators, and he has proven to have a facile ear for that fine line between improv chaos and inspired genius. It helps that he's a trombonist, which is perhaps the most versatile of jazz instruments.

On this set, Vlatkovich is joined by Tom McNalley (guitar and, um, voice), Dominic Genova (electric bass) and John Hernandez (drums, etc.). This is a more modern jazz quartet than is usual for Vlatkovich, and he does make use of a few old-fashioned fusion sounds. McNalley isn't a typical guitarist, though, and so any attempt to say these pieces "sound" like anything else would be silly.

What I like about Vlatkovich in general is that he is able to bring accessible ideas into the extreme improve realm. Sometimes, these pieces can sound like "regular" jazz. That is, they are largely indistinguishable from some of the better-known, forward-thinking artists out there. But just when the groove seems settled, there's often a shift. Not a dive off a cliff, but a sense that life is not quite so ordered as it seems. Vlatkovich sets up his compositions to allow for examination and rumination, but he also keeps the trains running. And so while the journeys end as they should, the side trips can be quite the affair.

Vlatkovich has been managing this trick for years, and he seems to be a standard-bearer for those who want to keep feet in both the traditional jazz and extreme improvisational worlds. Both arenas have their charms, and both can learn quite a bit from each other. Vlatkovich seems to have cherry-picked the best from each.

As usual, each member has plenty of time to shine on this set. As I noted earlier, I am a sucker for a good trombone. While I played many other instruments, I think that the trombone may have the loveliest and most expressive sound around. It can coo or roar on command--and sound convincing either way. This is a lively, hang-out set for Vlatkovich. He and his mates aren't breaking new ground, but they've sown a fertile plot nonetheless. They've done all the work for us. All we have to do is enjoy.

Jon Worley

Trombonist Michael Vlatkovich leads the electric quartet Vlatko on subjective experience in a commercial free zone. The hour kicks off with the skeletal funk rock of motely mountebanks. It’s the first of eight Vlatkovich concoctions for this unit. This one features a wonderfully twisted electric guitar solo by Tom McNalley, heavy with lyricism and electronic effects. Vlatkovich contributes a suave and tender trombone solo, and electric bassist Dominic Genova and drummer John “Vatos” Hernandez get to play a duet. There’s more hot guitar on in the interest of only those concerned STOP along with Genova on electric bass prodding and answering the guitar lines before playing a strong solo of his own. The particular bass and drums connection that Genova and Hernandez display is one of the disc’s special pleasures. Genova’s smoothly melodic rumbling on bass and Hernandez’ carefully tuned drums and deliberate playing keep the music well-grounded. The opening passage of knowers don’t know so guessers guess is a good example, as the pair establishes an eccentric groove as a setting for McNalley’s thin, spiky guitar. The disc’s most plainly beautiful moments come during the oh, so pretty if only maybe were a possibility, a feature for a sweet and unironic trombone solo. More often, the beauty is of a more complex variety, lying in the interplay of the instrumental voices and the textures of the ensemble playing. As a bandleader, Vlatkovich has shown a real knack for combining players with distinctively individual voices on their instruments and making wholly satisfying music. With Vlatko, he’s done it again. Happily recommended.

pfMENTUM CD085; Michael Vlatkovich (tb) Tom McNalley (el g) Dominic Genova (el b) John “Vatos” Hernandez (d, perc); Los Angeles, CA, March 19 & April 3, 2014; motely mountebanks/ in the interest of only those concerned STOP/ strodaad/ sometimes always/ if only maybe were a possibility/ knowers don’t know so guessers guess/ saint something or our lady of whatever/ undoug fug =-(doug unfug); 59:53.

Stuart Kremsky

http://skremsky.tumblr.com/search/Vlatkovich

Vlatko is the volcanic electric quartet of the hyperactive Los Angeles-trombonist Michael Vlatkovich, in the studio between March and April 2014. They dwell in the visceral, the typical Vlatkovich energy in all its creative manifestations, for a full bodied music, sometimes even a little abundant, often very well resolved by the finale in all accounts for a staff like that.

The trombone of the rampant leader in every fold, every crevice, every meander of the work, in fact scoring often just with his presence the most compelling moments of the same (in this case-we would say-the songs "Strodaad," "If Only Maybe Were a Probability "and" Undoug Fug = - (Doug Unfug)), although in full all three partners are doing their part to give firmness and solidity to a music that offers casual listening but not slavish. Often, indeed, liberating .

Track Listing: Motely Mountebanks; In the interest of Only Those Concerned STOP; Strodaad; Sometimes Always; If Only Maybe Were a Probability; Knowers guessers Guess I Do not Know; Saint Something or Our Lady of Whatever; Undoug Fug = - (Doug Unfug).

Personnel: Michael Vlatkovich: trombone; Tom McNalley: electric guitar; Dominic Genova: electric bass; Vatos John Hernandez: drums, percussion.

Alberto Bazzurro - 03/02/2015      Translated from Italian:  Google & CMB

http://italia.allaboutjazz.com/vlatko-subjective-experience-in-a-commercial-free-zone/

Michael Vlatkovich - trombone / percussion

Anna Homler - vocal

Jeff Kaiser - trumpet / flugelhorn

Scott Walton - acoustic bass

Rich West - drums / percussion

These talented men pay musical courtship to Anna Homler. They increased their appeal by capricious meowing and cooing vocalizations, which one can interpret as anything. And with toy noises that I, well, can only describe as teasing the horns bend over backwards snorting and whinnying, with red face and swollen comb. Homler cloaks herself, responding with decoys, evasions and mystery, rattles full of needles, disguised with throat singing flirts. What is 'Big Doors Little Windows' other than: Large flap, small ...? Yearning admirers provide a saucy comeback with: 'Your Ark Is Waiting'. Mint vapors makes the guys so tame that they squeak a cacophony of compressed screatches like big cats wolf-whistling up the object of their desire. As with their Kelpland Serenades with Steuart Liebig she wakes saucy Motte longings, although only thunderous silence on the 'Thunderous Silence' encounter, but ultimately not really frustrating, because fantasmagoric belongs to the fun of Looney Tunes, for a soundscape goofyness that provides entertainment enough.

[BA 82 rbd]

If there ever is a pfMENTUM Records all-star band, this is it: Anna Homler, Jeff Kaiser, Michael Vlatkovich, Scott Walton, and Rich West. Fifteen short improvisations (two go over seven minutes, but most are under four) that cover a wide range of emotions, contrasts, and forms of tension. Homler, glorious as always with her delicate vocalization and misfit noise-making toys; Vlatkovitch and Kaiser vocalizing with her via trombone and trumpet; Walton and West forming a wild, unpredictable rhythm section. Honestly, Here & Here & Here could be on of the very best free improvisation releases of 2014. Don’t let this one pass by.

François Couture's music journalism and activism

http://blog.monsieurdelire.com/2014/10/2014-10-14-mottstewart-inca-babies.html

http://pfmentum.com/sounds/PFMCD084_10.mp3

(Michael Vlatkovich) always plays with the cream of the scene in Los Angeles, where he resides since 1973. He actually comes from St. Louis, Missouri. After school pulled the improvisation scene in the metropolis so on, he packed up his stuff in his hometown. Since then he honked an impressive body of work together in the service of others or with a variety of ensembles, trios and quartets. Sometimes it takes several recordings with the same people, but he rather likes it more challenging and there is always talk of occupation orders and new projects. So once again, with Here & Here & Here surprising experimental coming from the corner. Vlatkovich plays subdued on his trombone and adds some percussion increasing. Buddy, Jeff Kaiser plays trumpet, Scott Walton plays an acoustic bass and Rich West, who like Kaiser has an impressive catalog, plays drums. All four, however, serving voice artist, Anna Homler, who not only displays her vocal antics, but also some percussion. The title track seems to contain didgeridoo, but is probably manipulated voice that integrates perfectly into the restrained interplay of these virtuoso improvisers. The men have been played so much in this kind of settings, that the looking at each other can is hardly necessary. They give each other ample space and yet Homler is dominating the plate. Her nonverbal sounds are pretty impressive and fit perfectly with the music. This cannot be called chamber jazz. This is a strange kind of experimental avant-garde that captivates all along the line.

(Patrick Bruneel)  www.pfmentum.com

TRANSLATION:  Google & CMB

Then, you’ve got Here & Here & Here which is made up again of Vlatkovich, but also with Anna Homler/voc-perc, Jeff Kaiser/tp-fh, Scott Walton/b and Rich West/dr on fifteen short but sweet free flying forms of frenzy. Vocal grunts from Tibet are on the title track, while horns growl like lions on “”Oranger Than Happiness.” Percussion goes free form on “Spark” and some Mahlerian moments pop up on “Salute.” Artsy to the point of musical Jackson Pollack!

George W. Harris October 9, 2014: http://www.jazzweekly.com/2014/10/dem-bonesvlatko-subjective-experience-in-a-commercial-free-zone-here-here-here-here-here-and-here/

Trombonist Michael Vlatkovich continues to surprise. First it are the line ups of these two new projects that make me curious. Here & Here & Here is Anna Homler (vocal, percussion),

Jeff Kaiser (trumpet, flugelhorn), Scott Walton (acoustic bass),  Rich West (drums, percussion) and Michael Vlatkovich (trombone, percussion). Recordings date from January this year. Of both records this is the most avant garde. Not sure this is completely improvised, but improvisation is a dominant element in these excursions where the players abstract from rhythm, melody and obvious thematic developments. They create open structures that receive shape through the concentrated interplay by the players. Homler sings her non-verbal lines that integrate very well with the patterns played by other musicians. Its music that is beyond jazz. More a kind of modern improvised chamber music. Very sophisticated and to the point music.

(DM)

Address: http://www.pfmentum.com

The curiously titled Here & Here & Here is the experimental quintet comprised of Michael Vlatkovich (trombone, percussion), Anna Homler (vocal, percussion), Jeff Kaiser (trumpet, flugelhorn), Scott Walton (acoustic bass), and Rich West (drums, percussion). If none of these names rings a bell then you've probably not yet made the proper mental connection with California's more adventurous experimental/improvisational music scene. Recorded in a single day (January 20, 2014), this self-titled album is a pure dose of experimental magic. Many folks think that anyone can just pick up a musical instrument and improvise. But the truth is that great improvisation is a skill that is actually practiced and learned over time...although some do seem to have more of an initial knack for it than others. It's kinda like stream-of-consciousness conversation. Some of it is just dribble...while in other cases it can be incredibly stimulating and intriguing. These five musicians are extremely good at what they do...and it seems miraculous that they could have recorded all of this in a single day. Perplexing tracks include "Dragon Beware," "Round Triangles," "Salute," "Choir Hose," and "Potozo."

http://babysue.com/2014-Sept-LMNOP-Reviews.html#anchor190521

...you get the male voice of Mark Weber delivering poetry along with Carol Sawyer’s avant garde soprano voice in the background on this collection of free form music and words. The instrumentation includes Michael Vlatkovich/tb, Steve Bagnell/ts-bcl, Lisa Miller/p and Clyde Reed/b. All of these artists generally provide free improvisation that sometimes serves as punctuation as on “Poem 8” and other times for obligattos. There is a jam on “Winter Things” which focus’ on the trombone, but for the most part, the mood here is a late 50s parlor for the beat generation. Is this a 60 year reunion?

JAZZ WEEKLY, by George W. Harris , June 11, 2015

http://www.jazzweekly.com/2015/06/singers-male-and-femaletad-robinson-day-into-night-lainie-cooke-the-music-is-the-magic-mark-weber-carol-sawyer-elasticity/

VLATKO AND HERE HERE HERE

DEM ‘BONES…Vlatko: Subjective Experience in a Commercial Free Zone, Here & Here & Here: Here & Here and Here

A couple discs with trombones. Slide on in!

Michael Vlatkovich lets his trombone lead a team of Tom McNalley/eg, Dominic Genova/eg and John “Vatos” Hernandez/dr through a collection of exciting and fresh originals. A hip bass line grooves on “Strodaad” while a deep drum rivulet permeats “Knowers…” The band can also get a bit frisky as ‘bone and guitar fight it out on “Motely Mountebanks” and the funky “Undoug Fug.” Blues and bop get into the act with a toe tapper “Saint Something…” Irreverent, but not irrelevant.

Then, you’ve got Here & Here & Here which is made up again of Vlatkovich, but also with Anna Homler/voc-perc, Jeff Kaiser/tp-fh, Scott Walton/b and Rich West/dr on fifteen short but sweet free flying forms of frenzy. Vocal grunts from Tibet are on the title track, while horns growl like lions on “”Oranger Than Happiness.” Percussion goes free form on “Spark” and some Mahlerian moments pop up on “Salute.” Artsy to the point of musical Jackson Pollack!

JAZZ WEEKLY by George W. Harris, October 9, 2014

http://www.jazzweekly.com/2014/10/dem-bonesvlatko-subjective-experience-in-a-commercial-free-zone-here-here-here-here-here-and-here/

ARTIST: MICHAEL VLATKOVICH

TITLE: HERE & HERE & HERE

LABEL: PFMENTUM CD084

TUNES: DRAGON BEWARE / HERE & HERE & HERE / RED CODA SOFT / BEFORE BUT AFTER / SPARK / BIG DOORS LITTLE WINDOWS / ORANGER THAN HAPPINESS / ROUND TRIANGLES / YOUR ARK IS WAITING / THREE IN FRONT FOUR IN BACK TOES / SALUTE / CHOIR HOSE / PFAZZU / THUNDEROUS SILENCE / POTOZO. 55:53.

PERSONNEL: Vlatkovich, tbn, perc; Anna Homler, vcl, perc; Jeff Kaiser, tpt, flgh; Scott Walton, b; Rich West, d, perc. January 20, 2014, Los Angeles, CA.

Trombonist Michael Vlatkovich leads acoustic sessions in the free jazz mode on his two recent CDs. A look at some of the tune titles, especially from the first recording, makes it no surprise that Vlatkovich’s original music has a non-standard or enigmatic character. (1), released in 2013, features Vlatkovich and trumpeter Jim Knodle over an open-sounding two-piece rhythm section of Phil Sparks on bass and Greg Campbell on drums. It is a mostly unencumbered set, occasionally with some recognizable musical structure (as on “fools, drunks & angels”) and interaction of horns (on “i liberate monsters”). On his more recent 2014 recording (2), Vlatkovich employs a quintet, with vocalist Anna Homler freely providing unusual vocal sounds on several selections. Vlatkovich and trumpet/flugelhornist Jeff Kaiser form an interesting duo on “Round Triangles” and on other selections play off each other with support from Scott Walton on bass and Rich West on drums and percussion. Vlatkovich and Homler double on percussion, so that three group members were available to provide sounds such as tapping, clicking, ringing, squeaking, and jungle and animal sounds which may be heard frequently throughout the recording.

Cadence, Don Lerman, CD review from Volume 40, No. 1: January issue

For more information, go to www.cadencemagazine.com

Michael Vlatkovich – compositions / trombone

Jim Knodle – trumpet

Phil Sparks – bass

Greg Campbell – drums / french horn

Michael Vlatkovich Quartet - You're Too Dimensional (CD, pfMENTUM, Modern jazz) This album arrived in our trusty mailbox without any accompanying information. But because we've reviewed Michael Vlatkovich's music before...and because the CD was released by the fine folks at pfMENTUM label we knew it would be great. And...it is. Vlatkovich is one of the best improvisational trombone players around and his music never fails to please. Clocking in at just under an hour, the humorously titled You're Too Dimensional offers a mighty nice and satisfying slice of modern jazz music. Spontaneity is the key word here as Vlatkovich and his comrades feed off one another's energies...creating some strangely moody and intoxicating music. Joining Michael on these tracks are Jim Knodle on trumpet, Phil Sparks on bass, and Greg Campbell on drums and french horn. The players are focused and proficient from start to finish. Ten curious tracks here with titles that are even more curious. Our favorite cuts include "No Candy For the Wagon Full of Devils," "Blue Peepers," "The Curious Intensity of a Refrigerator Defrosting," and "Fools, Drunks & Angels." Way cool stuff with cool exotic vibes.

LMNOP Reviews

http://www.babysue.com/2014-Feb-LMNOP-Reviews.html#anchor125954

MICHAEL VLATKOVICH QUARTET You're too dimensional. (pfMENTUM CD077) : Michael Vlatkovich, Trombonist from the West Coast, which could be heard for years as a team player in larger formations (Vinny Golia Large Ensemble, Jeff Kaiser Ockodektet, Mark Weaver Brassum ), then had with his Across 36 Continents (2005) and An Autobiography of A Pronoun (2011) and then his Ensemblios releases. Then he focused on smaller forces with ALiveBUQUERQUE (2003/ 07), the Vlatkovich Tryyo Pershing Woman (2010/12) and yet another trio with three3 (2007/ 20) and succulence of abstraction (2011 /13). So here in combination with Phil Sparks (a veteran of the Seattle scene), and on bass Greg Campbell (with his experience with Mike Bisio and Wally Shoup) on drums and trumpeter Jim Knodle, another Seattle player (with the likes of Lesli Dalaba and Amy Denio, and with Michael Owcharuk Ukrainian punk - jazz, sarcastic with The Fred Roth Revue Retro -Wave and even with KMFDM.) You're too dimensional. is fun and it is cool (in the old Mulligan-Baker format) and it is animated with humor, from 'mOOn jOOiia' (whatever that might be it) we hear Vlatkovich voice his changes. With 'the curious intensity of a refrigerator thawing' and with 'blue Peeper' mentioning only two of his funny high-flown titles... the aim of this music: to nudge us from one equilibrium to another, and to release fun little monsters into the world. Vlatkovich composed and directed all this uncluttered swing that never treats us like children. This is the abolute antidote against attacks of Antiseattleitus .

[BA 79 rbd] Rigobert Dittmann bad.alchemy@gmx.de (Translated from German with help from Google)

Michael Vlatkovich Quartet: You're Too Dimensional (2013) Record Label: pfMentum Longtime and prominent affiliate of California's progressive jazz sector, trombonist Michael Vlatkovich has nurtured strong relationships with multi-reedman Vinny Golia, tenor saxophonist Rich Halley and others of note. Yet Vlatkovich has long been considered as one of the finest improvising trombonist's within modern jazz and the avant-garde jazz spectrums. He's comfortable in a variety of settings, while recently cutting some vibrant trio outings for his independent label, Thank You Records. With this outing he reemerges with a quartet formation and shares the frontline with eminent trumpeter Jim Knodel. Other than some of the boisterous in-your-face breakouts, the quartet engages in quite a few popping, bump and grind jaunts framed on hearty improvisational segments. They get their juices flowing by also implementing shuffle grooves amid various cadences and expressive conversational patterns. At times, the hornists probe and interrogate each other's thought processes with droning extended notes or when lashing out in garrulous fashion. The album contains a diverse track mix. For example, the musicians gel to a loping, medium-tempo pulse on the bluesy and somewhat staggered "mOOn jOOiia," and execute a knock-down, drag-out and loosely organized romp during "Blue Peepers," where each musician receives ample time to stretch out. Moreover, various movements are devised on a building-block approach and others are framed on odd- metered unison choruses, gushing with the frontline's impassioned exchanges. The quartet finalizes the program with "Fools Drunks & Angels." Here, drummer Greg Campbell's rolling and tumbling attack tenders a fluidly energizing and cyclical support, as the horn-men's burning linear choruses deliver the KO punch. Overall, You're Too Dimensional uncannily aligns a good-timey group demeanor with serious-minded improvisation and the musicians significant technical faculties. Hence, the spry group camaraderie transfers to disc in a rather huge way. Track Listing: Various Manifestations of Thwart & Opine for Curved Bill Thrasher & Toy Piano in 4 Parts; No Candy for the Wagon Full of Devils; The Curious Intensity of a Refrigerator Defrosting; Wishing for 2 at 5/3; mOOn jOOiia; Blue Peepers; The Static Equilibrium of the Values of Savagery; I Liberate Monsters; Balance Out of Life Out of Balance; Fools Drunks & Angels. Personnel: Michael Vlatkovich: compositions, trombone; Jim Knodle: trumpet; Phil Sparks: bass; Greg Campbell: drums, French horn (9).

GLENN ASTARITA, Published: December 10, 2013, ALL ABOUT JAZZ

"You're too dimensional."

HAS BEEN CHOSEN For:

Robert Bush’s Ten Best Releases of 2013

ALL ABOUT JAZZ

If you’ve listened to Michael’s trombone work before – you’re in for a very pleasant surprise…. it’s always good to listen to him, of course, but this is the most solid jazz set I’ve ever heard him on before, as witnessed by the great “Fools, Drunks and Angels” track… 6:36 worth of seconds packed with true sonic adventure!  I also found the tune “The Curious Intensity of a Refrigerator Defrosting” to be most aurally attractive.  With all that said, I’ll toss in a cautionary note…. if you think you’re going to escape this with your mind intact – you’ve got another think coming – this isn’t “just jazz”, “smoove jazz”, or any other “jazz nonsense”…. pure, straight-ahead jazz exploration for those with adventure in their blood!

I give Michael & crew Improvijazzation Nation Issue 141  Music & Opinion for the 21st Century Rotcod Zzaja MOST HIGHLY RECOMMENDED, with an “EQ” (energy quotient) rating of 4.98.

The West Coast jazz scene continues to be vibrant. It may not make headlines over here in the east, but there is vital music being made there. Michael Vlatkovich, trombonist and composer, has certainly been one of the important voices for some time now. He returns with a quartet lineup on the recent You're Too Dimensional (pfMENTUM 077).

In addition of course to Michael V. there is Jim Knodle on trumpet, Phil Sparks on acoustic bass, and Greg Campbell on drums and a very respectable French horn.

The music is modern in the free-composed vein we expect from Vlatkovich. He is one of the free trombonists at the top of his game out there and that is clear from the new album. Jim Knodle adds a vibrant second voice in the front line, with an inventiveness that complements Michael's both in terms of solo utterances but also in a two-way improvised polyphony at times--three-way when Greg Campbell takes up his French horn.

Phil Sparks does riffs with good variations at times when the music has a rock-funk rhythmic underpinning and can walk well, free zone, put down rhythmically and noteful foundations that set things up nicely. He can solo with interesting and effective results. Greg Campbell propulses the band with a nice feel from the drum chair (or rather the throne, as drum manufacturers call it).

Some (not all) of this reminds slightly of M-Base and/or Dave Holland's band of some years ago when they did contrapuntal funk. But only referentially, not in some imitative way.

Vlatkovich sounds limber and up. The compositions stimulate and the band swings, rocks and frees up in nice ways. This may not be his best album to start out with if you do not know his music, but it satisfies and shows him once again a critical member of the West coastal jazz coterie.

Grego Applegate Edwards at 6:15 AM April 15, 2014

A weird energy that animates the Michael Vlatkovich Quartet is among the most important scenes of the West Coast. These excellent musicians lead you through a tangle of rhythmic figures evoking hot New Orleans nights and sweaty shirts.  Avant-jazz spontaneous, conversational and friendly. The mood moves generally in average time, with hypnotic structures and beautiful lines for the horns. At times, almost a retelling of the traditional band blues and jazz of New Orleans. These guys are laughing up their sleeves with titles such as: The Curious Intensity Of A Refrigerator Defrosting.

Mark Carcasi May 18th 2014

http://www.kathodik.it/modules.php?name=Reviews&rop=showcontent&id=5701

Translation: Google & CMB

Trombonist and pfMENTUM fixture Michael Vlatkovich maxes his track title word count credit card once more for his umpteenth recorded appearance on that productive, non-profit jazz label. Like the preceding trio recording, Pershing Woman, You’re Too Dimensional finds Michael and a new coterie of cohorts comfortably at sixes and sevens: gracefully stretching and flexing brass limbs across their play space, while avoiding collision at every turn. As stream-of-consciousness as Vlatkovich’s signature composition titles, the group’s regular decelerations to deconstruction speed allow us to examine in detail every ruddy-cheeked interaction. The resulting sky of strangely angled skywriting (and sometimes low-energy fizzle) may not always offer balm to weary souls, but by way of ballast it mostly moves in a rounded rhythmic manner to ensure finger pops remain close to hand. The pace is bouncy, for instance, where ‘Pershing’ left me out of breath. The successful blending of tempos is most successfully sustained through the ten minutes of ‘blue peepers’, which gifts each player with generous solo time, Jim Knodle’s warm trumpet-muting being the stand out element.

I’m not sure as to the extent of Vlatkovich’s role as ‘composer’ though, because notated ‘melody’ seems ever subordinated to melodic mannerism; the ever-reliable Knodle, Phil Sparks (bass) and Greg Campbell (drums, French horn) proceeding through their palette of earthy tones with apparent autonomy. It certainly works to his benefit though that Vlatkovich has kept instrumentation quite conventional, spurring as it does his seasoned players to maximise their performance potential. A violin would have jammed up the works something awful. So all seems well enough, though I’ve gotta say, the 5-minute Photoshop cover does favours for no one, even if it does seem appropriately redolent of west its coast jazz provenance. Pay that bit no mind.

Written by Stuart Marshall

http://www.thesoundprojector.com/2014/07/12/jazzers-frond/

In Seattle, in February 2013, Vlatkovich returned to the office at the head of his own quartet, much more brassy, since his trombone (which here has certainly more comfortable room to expand in all its fragrances), join the trumpet of Jim Knodle and, on two tracks, French horn Greg Campbell, for the rest sitting behind the drums.

The pace of the group is vital, all played in the sign of a choral solid and round, the sound is plastic, powerful, well-turned, very rewarding ear, in practice the classic "what you wanted to ask a brass quartet (but not always you have had ...).  Without major upheavals or songs-watershed, the best things seem to come at the beginning (first four pieces) and the end (the last two), in a work-for-you... will understand that commonality is the qualitative main trump. Maybe without brilliant inventions, but also without failure whatsoever.

Albewrto Bazzurro, Oct 7, 2014:  http://www.allaboutjazz.com/trombone-x-4-x-4-by-alberto-bazzurro.php

Translation:  Google & CMB

This one features Vlatkovich’ quartet, and has Jim Knodle on trumpet, Phil Sparks playing bass, Greg Campbell drums and Vlatkovich again on trombone. All compositions are by Vlatkovich. Again outstanding and inspired playing, not to forget by Knodle on trumpet. This is jazz of a very lively and solid kind, without entering too far into avant garde or experimental territories. No extended techniques, electronics, or whatever. Just very capable players who engage fully in the compositions of Vlatkovich.

(DM)

Address: http://www.pfmentum.com

Consistency and resilience are high in Michael Vlatkovich’s top qualities. The trombonist has just released a new album with his longstanding quartet (w/ Jim Knodle, Phil Sparks, and Greg Campbell). The dual-horn front line (trumpet + trombone)  is hot, the rhythm section is supple, and Vlatkovich’s compositions are as witty and humorous as ever. In fact, humour is what brings me back to Vlatkovich’s music – that, and his trombone playing.

François Couture Journal d'écoute / Listening Diary

http://blog.monsieurdelire.com/2014/01/2014-01-27-michael-vlatkovich-quartet.html

Another disc from Mr. Vlatkovich and friends, and more to come!

The Michael Vlatkovich Quartet digs right in from the first downbeat on the stirring You’re too dimensional. Vlatkovich, the prolific composer, trombonist and bandleader wrote all the tunes, as a glance at the titles will let you know if you’ve been following his recordings. I don’t think that there’s anyone else who would call a song the curious intensity of refrigerator defrosting. While that seems like a title from someone who doesn’t get out much, Vlatkovich’s many ongoing projects and associations all across America make it clear that that isn’t the case. This quartet was recorded in Seattle featuring Jim Knodle on trumpet, frequently sparring with Vlatkovich’s trombone in the front line, plus Phil Sparks on bass and Greg Campbell on drums and occasional French horn. With exemplary focus and cohesion, they explore Vlatkovich’s imaginative musical world of sinuous melodies, acrid brass harmonies, tempo-shifting games and dry wit. Particularly effective are the stirring opener various manifestations of thwart & opine for curved bill thrasher & toy piano in 4 parts with its slip and slide horn parts, blue peepers with a tough, slithery groove under pungent brass solos and a snappy drum solo, the slowly but persistently accelerating I liberate monsters, and the fractured soundscape of fools drunks & angels. Recommended.

pfMENTUM CD077; Jim Knodle (t) Michael Vlatkovich (tb) Phil Sparks (b) Greg Campbell (d; Fr hn on *); Seattle WA, February 2, 2013; various manifestations of thwart & opine for curved bill thrasher & toy piano in 4 parts/ no candy for the wagon full of devils/ the curious intensity of refrigerator defrosting*/ wishing for 2 at 5/3/ mOOn jOOiia/ blue peepers/ the static equilibrium of the values of savagery/ I liberate monsters/ balance out of life out of balance*/ fools drunks & angels; 59:37.

Stuart Kremsky

http://skremsky.tumblr.com/search/Vlatkovich

TRACKS

(05:05)   1. various manifestations of thwart & opine for curved

                  bill thrasher & toy piano in 4 parts

(02:48)    2.    no candy for the wagon full of devils

(08:15)    3.   the curious intensity of a refrigerator defrosting *

(04:24)    4.   wishing for 2 at 5/3

(06:26)    5.   mOOn jOOiia

(10:04)    6.   blue peepers

(06:25)    7.   the static equilibrium of the values of savagery

(06:50)    8.   i liberate monsters

(02:32)    9.   balance out of life out of balance *

(06:32)  10.  fools drunks & angels

 59:37     TOTAL

PRODUCTION

Recorded in Seattle 2-2-13 Doug Hare – Engineer, Sonarchy Radio

Edited, Mixed & Mastered 5-01 / 02-13

Wayne Peet - Engineer, Newzone Studio, Los Angeles

Chuck Britt - Design