T o n y   B i a n c o    - CD RELEASES - IMPROVISED / NEW MUSIC

Dave Liebman, soprano and tenor saxophone, Indian bamboo flute;
Evan Parker, soprano and tenor saxophone;
Tony Bianco, drums.

1. Relevance (1st set) part 1 (23.46)
2. Relevance (1st set) part 2 (12.18)
3. Relevance (2nd set) part 1 (27.27)
4. Relevance (2nd set) part 2 (10.02)

Recorded at The Vortex, London on 27 January 2008.

Drummer Tony Bianco, brings an amazing energy to this performance but it is his technique that really astounds "
"At times it sounds more like a drum choir than just one guy at the traps. It's hard to digest it all in one sitting but this is free jazz of the highest order ."

AllAboutJazz.com Review :
It is hard to imagine that these two saxophone titans, Dave Liebman and Evan Parker, had never met on stage before this 2008 concert at The Vortex in London. Both are innovators with a distinct, almost larger than life sound and they combine forces to make this meeting very special.
Back in the 1970s, Liebman was chosen by Miles Davis to help drive the trumpeter's sound on recordings like On The Corner (Columbia, 1972), Dark Magus (Columbia, 1974), and Get Up With It (Columbia, 1974). At the same time, Parker was fostering the European free music scene with Peter Brotzmann and Chris McGregor. Fast-forward some thirty plus years and both musicians have established solid careers and dedicated followers.
Putting the two saxophonists on stage together tempts an old fashion cutting contest or perhaps a last- man-standing show of endurance, however this is not the case. The energy of these two sets may be draining, but it's that good kind of tired.
Credit goes to Tony Bianco, the New York born drummer who has made a career playing free jazz in Europe. His unremitting pulse sustains this date throughout, playing with such ferocity that neither saxophonist has the opportunity or possibility to overshadow the other. It might be said that he steals the show.
The recording is broken down into two sets and four parts. The first three parts are barn burners, matching both Liebman and Parker on tenor saxophones, soprano saxophones, and a combination of both. Neither treads upon the other's territory, instead they opt to circle each other, encouraging a seemingly constant increase in animation. Spread between the right and left channel, the beauty of each player's sound is revealed. The last "Part 4," acts as the audience's re-entry with Liebman switching to flute and Parker maintaining his signature soprano sound. With Bianco on mallets, the ease of the trio's interaction allowing everyone to regain their real world senses.

Red Toucan Records

The Mahasvanah Trio live.
see more of Tony's videos on youtube

Sound clips require REAL PLAYER

Live at Glenn Miller Café

Luther Thomas - saxophone
Jair Rohm Parker Wells - bass
Anthony Bianco - drums


Jazznett Reveiw ny : Henrik Kaldahl
New download only release who was made available for the masses on the 13th of july 2007 to mark the day of Albert Ayler's birthday who would have been 71 years old this year. The people behind this ambitious project are a trio consisting of Luther Thomas on alt saxophone, bells, whistles and hollers, Jair-Rohm Parker Wells on bass and Tony Bianco on drums and cymbals. Two long numbers is what we as hungry freejazz lovers are being presented of here. The first number called Ghosts/Thruth Is Marching In has a running time of 36 minuttes and 40 seconds and the second number called O Store Gud (How Great Thou Art) runs in on 29 minuttes and 54 seconds – both recorded at Glen Miller Café in Stockholm Sweden on the 8. of march 2007. This trio does not play cover versions of the music of Albert Ayler but play improvised music inspired by the life, thoughts and music of this amazing artist who changed the jazz community forever and made sure that it would never be the same. Both numbers on this release are absolutely great and nothing but jawdropping – Thomas blows his horn like there was no tomorrow and sounds at times just like the master he so greatly admires, Parker Wells pushes his bass to the limit and yanks the strings with great skills and last there is the the human drum monster in the figure of Bianco. He is a true master on the drums and the absolute star on this release – just try to listen to his drum playing on the first number, only pausing a few times in the nearly 37 minuttes the number lasts, truly amazing and breathtaking. This release is a worthy tribute to one of the creators of free jazz music, and i cant give it recommendations enough with it on the way. Great music from great musicians – it does not get any better than this.

Ayler Records, aylDL-066
AVYAYAH (Drone Drums)

Tony Bianco - drum set

  1. Fire Of Sacrifice   (7.18)
  2. Conch and Chariot   (12.32)
  3. Justice   (8,22)
  4. Wind   (10.44)
  5. Peace and Victory   (9.13)
  6. Balance   (4.02)
  7. The Ancients   (5.44)

Honorable Mention List 2005, DOWNTOWN MUSIC GALLERY.

Excerpts from sleeve notes :
My concept for this recording is that each drum piece serves as a meditation. A flame. An invocation. Inspired from the images from the great spiritual epic, The Mahabharata I called this record 'The Avyayah Drum'. 'Avyayah' is a Hindu word (one of the names of Vishnu) meaning constant, no change, that is a drone.
I believe that the drone is an aboriginal or primal instinct in ancient music. One is of course reminded of the didgeridoo and of the distinctive tampura drone in Indian music. Along with the images of the Mahabharata I keep a war-like trance (by keeping a drone in the drums) consistent in all pieces.
Tony Bianco (2005)


FMR 176

Paul Rodgers - 6 string bass
Tony Bianco - drums
Paul Dunmall - saxophones

1. Tony Bianco Solo 1   (16.40)
2. The Two Pauls   (16.28)
3. The Trio   (35.13)





Jair Rohm Parker Wells - electric double bass / loops
Magnus Alexanderson - electric guitar / loops
Anthony Bianco - drums / cymbals

    Steamroom Variations
  1. part 1   (18.36)
  2. part 2   (12.09)
  3. part 3   (27.26)
  4. Life / less   (4.36

Excerpts from sleeve notes :
What we tapped into from the first time that we [played together was 'the flow'. Somehow, the three of us arrived at a point in our collective perception.
The music of Decision Dream is is wholly improvised. The music that results is magical, memeorable, strong. multi-faceted. Hip hop. Be bop, Free bop, Drone.
Jair-Rohm Parker Wells. Stockholm. 2005



RT 9328

Alex Von Schlippenbach - piano
Paul Dunmall - tenor saxophone
Paul Rogers - 7 string bass
Tony Bianco - drums

  1. Salamander   (29.11)
  2. Leviathan   (34.47)
recorded 21 October 2004

see The Wire review


SLAM 262

Tony Bianco - drum set
Dave Liebman - soprano & tenor saxes, wooden flute, piano
Tony Marino - double bass

recorded Saylorsburg, PA. USA. 2003
  1. Line Ish :part one   (14.23)
  2. Bass Interlude   (4.02)
  3. Line ish : part two   (13.33)
  4. Sax Interlude   (2.13)
  5. Line ish : part three   (8.42)
  6. Group Interlude   (4.45)
  7. Cymbal Interlude   (1.48)
  8. Line ish : part four   (11.13)

Excerpts from sleeve notes :
It has been a while since I played or recorded in the United States. Recording LINE ISH there was great fun. Of course I was playing with one of the icons of the saxophone and his long time bass-playing associate, Tony Marino. How could there be a problem? This was one of the easiest recordings I ever did. The time must have been right for such a playing experience.
The concept and lines were written by Dave. There wasn't much talking - we just went ahead and recorded. The trio immediately had a cohesion and response. We knew we were going to have a good hit. I think these circumstances occur when the musicians have a similar spiritual vision.
Of course Dave has a long and profound history in jazz. He has a lot of information in him. So after knowing him for years we finally got a recording together. I'm real glad about this.
I feel LINE ISH is a suite evoking some kind of native intelligence. The seriousness of this music comes from the intensity of the spirit which words can't express. This trio takes this intensity and brings it from the past to the future.
I talked to Lieb, during the session, about a band he had called 'Lookout Farm'. I said I really enjoyed hearing that band. I used to hear them at the Village Vanguard back then. I said I loved the primitive thing. Dave said to me when he hears recordings of that band he thinks to himself, who is that guy playing the saxophone? (He thinks he changed so much since then.) I'd like to think maybe I brought that guy back.
Tony Bianco (2004)

see reviews



Tony Bianco - drums and cymbals
Paul Dunmall - tenor saxophone
Marcio Mattos - double bass & electronics

recorded in London 2002
  • A. Hour Glass
    part 1 : 26.38
    part 2 : 10.01
    part 3 : 20.02
    part 4 : 4.03
  • The Tepees Dive Deeply
    part 1 : 10.47
    part 2 : 13.24
    part 3 : 17.06
    part 4 : 21.20

Excerpts from sleeve notes :
The title HOUR GLASS comes from a discussion Paul (Dunmall), Marcio and I had about the length of the recording we were going to do. We said let's play for one hour continuously. We did the same when we did the session with Paul (Rogers).
It's not that we were trying to run a marathon, just that when you play for that amount of time sometimes you run into certain musical episodes that are amazing. It's like you have to somehow be in contact with the whole piece from the beginning 'til the end and try to make it stand together without losing the spirit. I think we achieved this to some extent on these recordings.
To me the recordings reflect the seasonal changes going on at the time. The first one feels like the sun trying to emerge behind winter's darkness, while the second feels as if the sun is in command and summer is on its way. Anyway, I hope these recordings are enjoyed.
Tony Bianco (2002)

see reviews



Tony Bianco - drums & cymbals
Paul Dunmall - tenor saxophone (left)
Simon Picard - tenor saxophone (right)

recorded in London 1999
  1. Oceans In Space   (25.49)
  2. Labyrinths   (9.48)
  3. White Eagle   (23.48)

Excerpts from sleeve notes :
In the last years of his life, John Coltrane was using the drums as the predominant instrument in his performance, playing with two or more drummers at once or just dueting with a drummer. In the Utoma Trio I have the opportunity to explore this concept explored by John Coltrane.
Our only direction during this recording was to improvise for a half hour, for ten minutes, then try for another half hour. The friendship between Paul and Simon made things easy - at times they just sound like one player covering the full range of the tenor saxophone. The two sides of the same coin complementing each other perfectly.
The intensity of the recording comes from the profound belief and commitment to this music by all on board.
Tony Bianco (2000)

see reviews



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