#andy milne

[cintese]

Un superfan anglais prêt à vendre sa maison pour la Coupe du Monde 2026

Andy Milne, un retraité de 62 ans vivant en Thaïlande, s’apprête à réaliser un sacrifice extraordinaire pour assister à la Coupe du Monde 2026. Cet ancien enseignant, devenu une figure emblématique des supporters anglais, a décidé de mettre en vente sa seconde maison dans le Cheshire, évaluée à 350 000 livres sterling, afin de financer son dixième voyage mondial. Une passion ancrée depuis des…

Un superfan anglais prêt à vendre sa maison pour la Coupe du Monde 2026

[musicollage]

Andy Milne — Time Will Tell. 2024 : Sunnyside.

[spilladabalia]

The Cateran - Ache

[wornoutspines]

Fellow Travelers (Pilot Review) | Love in the time of...Obstacles

I finally got to it and boy oh boy did #FellowTravelers managed to surprise me. #JonathanBailey and #MattBomer are amazing in this show and there's a subtle jock in the pilot that I like. #TVSeries

CAST Thomas Mallon (Novel) & Ron Nyswaner (Creator)Matt BomerJonathan BaileyJelani AlladinAllison Williams Review Bailey and Bomer brought my attention to this show, didn’t know what it was about when inquiring about the book – which was so close to the show’s premiere – that I decided to just jump in. It starts in 1986 in a nice suburban area where we meet Marcus Gaines on his way to visit…

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[dustedmagazine]

Ralph Alessi – Imaginary Friends (ECM)

There’s a playful sense of on-paper paradox in the realization that Imaginary Friends, Ralph Alessi’s third project for ECM, relies implicitly on the participation of longstanding flesh-and-blood compatriots. The album is a reunion on record for a band first assembled over a decade ago for a release on the German Between the Lines imprint. Saxophonist Ravi Coltrane was billed as a guest back then, but the rest of the group including pianist Andy Milne, bassist Drew Gress and drummer Mark Ferber were regulars. All five players have evolved measurably in the interim and the difference in production styles between host labels is another distancing factor in how the two musical documents sound. 

Alessi’s activities include academia, most notably as the founder of the School of Improvised Music and faculty at the New England Conservatory. Systems and structures are important parts of his compositional perspective with an approach to ensemble engagement that balances individuality and cohesiveness. Each of the album’s illustrates variations on this malleable and resilient framework. Milne’s keys are frequently the fulcrum, setting up delicate chordal fields that complement the melodic explorations of the horns. “Iram Issela” opens with a duet of sorts between Alessi and Milne flanked by Ferber’s brushes. Coltrane’s searching tenor takes over for the leader during the piece’s more propulsive second half, the switch signaled by a tinkling solo piano interlude. 

“Oxide” initiates with Milne again, shaping a repeating motif that fleshed rhythmically by Ferber and a recessed Gress and gliding unisons from the horns. The ECM acoustics offer clarity along with a gossamer sheen of reverb, giving the piece an even greater degree of ethereality. “Improper Authority” has an air of Alessi’s colleague Steve Coleman in its combination of stacked metrics and dancing horn lines that thread through and around the staggered beats while “Fun Room” builds from distillate fragments after a Ferber-forwarded preface to create a pleasing tension between Milne’s block chords and Alessi’s pursed brass patterns. In both contexts there’s a consistent sense of movement and focus, a resolute resistance toward falling back into anything resembling background music.

“Around the Corner” mixes the simplest of ostinato figures with another lustrous unison horn line and more coloristic accompaniment from Ferber. Alessi’s solo, traced in places by Coltrane’s tenor, maximizes the mellifluousness of his instrument with each note voiced and strung with clean precision. It’s a tone poem rife with beauty that retains somber grounding gravitas. “Melee” is an arguable opposite with the players engaging in an extended display of rhythm-fractured collisions and elisions. The Coleman comparison is again tempting, but Alessi’s knife-edged phrases, slicing and feinting against an undulating, ouroboros-like beat, Milne’s trap-door interlude into incremental solo atmospherics and Coltrane’s snake-charming sopranino are just three of numerous attributes that set it comfortably apart. 

Derek Taylor

[mostlymonk]

Pannonica

La Tanya Hall &  the Andy Milne Trio

La Tanya Hall – vocals Andy Milne – piano James Genus – bass Clarence Penn – drums

[coylady]

Round Midnight - Steve Coleman and the Five Elements From the 1995 album, Curves of Life -  Coleman and Milne provide a a very fresh fusion interpretation of Monk's classic. Steve Coleman (alto saxophone), Andy Milne (piano/keyboards), Reggie Washington (bass), and Gene Lake (drums) 

[mostlymonk]

Bye Ya

Chris Potter

Chris Potter – saxophone Ralph Alessi – trumpet Andy Milne – piano Drew Gress – bass Mark Ferber – drums