Reviews for "One Life Left", "Garden Beast" and "Two Hours in June" in Jazz Hot, the oldest French jazz magazine (in French).
An interview with Iordache about his "Suita Titan" (Titan Suite) in the cultural journal Metropolis.
A Concert Monkey, Ioana Nica, listened to Garden Beast and wrote "Despite the soft sensation of playfulness coming out of Garden Beast, the music is not an invitation to a walk outside the house to see the trees, the flowers and the bees, neither to seek comfortable accommodation for reading a book in quiet. There is a strong feeling of witnessing an independent movie about a living garden and its occupants, where something new happens each day." Read more here.
The latest review of One Life Left, at Jazz Music Archives.
A nice account (in Romanian) of a concert at green hours, on Metropotam.
" Saxophone, trombone, and guitar combine beautifully, providing great contrast through the series of solo statements as well as many possibilities in ensemble arrangement."
(Eugene Chadbourne's take on "Friday - featuring Tom Smith" on allmusic.com)
"The maverick of Romanian jazz, Iordache has developed into a mature musician, and his conception of the structures and meanings of the music he is playing is much clearer now. His solos, especially on the baritone sax (a superb rarity in modern line-ups, probably owing to its difficulty as compared to alto and tenor) have become more elaborate and less anarchic than in his uproarious early years.
Iordache's compositions have a sort of Monk-ish nonchalance and they provide a lot of space for his band mates: Eugen Nuţescu, an explosive and resourceful guitarist, compatible with Iordache's undulations, yet maybe too willing to shift into deafening and bombastic art-rock cliches; Toni Kűhn - a genuine mystic who expresses himself on both guitar and keyboards; and a rock solid rhythm section, with bassist Uţu Pascu and drummer Tavi Scurtu, both from Timişoara, close to the post-funk standard (I have heard them before on other bands' records, but the live impression is overwhelming).
As if to convince this writer that the melody players' bravado doesn't depend solely on the crisp rhythm section, Iordache and Nutescu ended the last set by playing a very lyrical encore. There, the irony and zappa-esque tongue-in-cheek were forgotten, and the baritone meandered sensuously through the lithe arpeggios of the guitar, whose inherent feminity forbade any hysterical excess."
(Virgil Mihaiu "Tribuna", December 2005)
"If I wouldn't be a jazz musician, I would be a rabbit" (an interview at allaboutjazz)
"Iordache's feel for this material is enormous, approaching heavenly, no doubt because of his own experience playing in, of all things, a Romanian Sun Ra cover band."
(Eugene Chadbourne's review of "dissipatin'" on allmusic.com)
The look of jazz
"(...) While not your "typical" jazzman, Iordache can yet be counted among the most important musicians of the middle generation, a man who frequently and successfully crossed the borders between music styles.
He is the same Mihai Iordache from the heyday of [punk-rock band] Sarmalele Reci - today he's a member of KUMM - a restless saxophonist (actually he also plays flute, didjeridu and whatever he can coax a sound from), always open for a new experience, from playing with Harry Tavitian to his recent concerts with DJ Electroclown.
His first solo release "Friday" (2003) was followed, this year, by "Dissipatin'", a superb album where every detail is carefully considered: the repertoire, the choice of musicians, the studio work and the graphic design.
While the first album featured Tom Smith, a great American trombonist, this time Iordache's guests are guitarists Sorin Romanescu and Eugen Nuţescu (his bandmate from KUMM), fellow saxophonist Cristian Soleanu, Hammond player Raul Kusak and especially Vlaicu Golcea, who besides his bass part also handled the programming, mixing and mastering.
As a final surprise, we also get Marta Hristea's voice on two tracks - she wasn't a part of the initial plan, and nobody would ever suspect she simply improvised the lyrics browsing through a religious book someone gave her on the subway.
Six out of eight tunes are Iordache's own. The other two are by Guillaume Maupin (Tu n'as rien vu a Schaerbeck) and Pablo Doherty (Gloomy Sunday).
The two saxophonists are particularly well-matched and inspired on "Dissipatin'", "Time Of Our Lives" and "Up", while the guitarists make the most of "Tu n'as rien vu..", "Fig Tree" and "You Know It's True". My personal favourites are "Recycle", "Time..." and "You Know...", which strikingly remind me of a legendary album, "Focus III"(...) "
(Valentin Albu in "Sunete", March 2005)
Some reviews in Japanese here.
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