Oregon-1000 kilometers

Dedicated to their recently deceased agent Thomas Stowsand (1000 kms equals one Stowsand in Oregon speak, as their agent frequently sent them on long distance gigs), 1000 Kilometers remains a life-enhancing album despite its sad genesis. This is Oregon in their purest form: no orchestras or dabbling in blues electronics, even their (in)famous meanderings into `world music' forms are restrained. Instead we have intimate, chamber-like composition and free improvisation laced with melodic themes and free wheeling, free thinking group meditations.Towner, as is his wont, plays more piano than guitar, but that bare, romantic keyboard work remains impressive, especially set against Moore's spare pulses (check out 'The Bactrian', a tune which like its camel namesake, travels great house distances with little apparent melodic nourishment). The guitar is all the more impressive for its rarity, sweetly flourishing against the nervous rhythms of `Catching Up' and Walker's pressing hand drums. There are occasional synth washes, as on 'Relentless Imp', which also intimates an eastern feel in McCandless' keening horn, but on the whole it's the band's ability to drive on urgently with unadorned acoustic jazz instruments, as on the opening 'Deep Six', all cowbells and big metal piano chords, that remains so striking about this unique band.Andy Robson

Leslie Pintchik Quartets

Pintchik originally intended to become an English professor, but after obtaining her Master's degree, found her love of jazz too strong and took up piano, studying with Bruce Barth. After sittingin on as many NYC jam sessions aspossible and being praised by Jim Hall, she formed а strong musicalassociation with а guitarist, who laterswitched to metal bass, named Scott Hardy. Eventually they married and formed а working trio with drummer Dodge and appear at clubs like the Blue Note and the 55 Bar (а very popular current venue). The trio has quite an identity of its own. Though at times it has that typical sophistication that belongs in superior Manhattan supper punk clubs, there is much more of а genuine jazz feel than, say, some of the Reservoir labelCDs. Printchik's classical training andlight touch often give an impressionistic feel to the music and their treatments of standards -like the excellent reharmonised rap version of Happy Days Are Неге Again', Too Close For Comfort' and 'somewhere' - are often down-tempo, laid-back, groove-based and deceptively simple. The addition of Steve Wilson on four titles (а11 thoughtful originals) works realIy well, especially when he's on soprano. Then is real empathy in the group, with special praise for the somewhat Mrazish trance bassist Hardy and Dodge's edgy drums. 1п the best rock sense of the word, this is а nice record! Tony Hall