JazzWrap | A Jazz Music Blog

Benoit Delbecq & Francois Houle: Because She Hoped

2012-01-26T01:00:00.000-05:00

Benoit Delbecq (piano)

Francois Houle (clarinet)

Because She Hoped (Songlines; 2011)

Because She Hoped is beautifully crafted, well delivering notes and patterns that are not just ethereal but are also astounding. This is the third collaboration between the Canadian/French duo, Delbecq and Houle. For me, this is the improvised equivalent of Pierre Fournier and Friedrich Gulda. While that classical duo performed miracles with the work of Beethoven, Delbecq and Houle manage this in the tradition of classic chamber music, but also with the swirling inspiration of minimalism and improvising composers of both jazz and classical.

On Because She Hoped, the material stands out with a unique and distinct set of principles that revolve around where will the music take you. "The Mystery Song" originally written by Duke Ellington is completely transformed into a minimalist masterpiece. The jovial aspects of the original are stripped to create a more intimate and slow journey that takes you down a path filled with unknown openings and closing. Delbecq's emotions never rise, even during the more uptempo parts midway through. Houle's chords tie things together softly making it feel less haunted than the title might suggest.

"Because She Hoped" is melodic and driven more by Houle's bold yet fluid lines. It's a clouded piece with jagged little structures slowly preening their way out. Houle has written a piece that provides a slow burn but a beautiful one resonates loudly. The duo also cover Steve Lacy's (a big influence on the musicians) "Cliches" which sounds very similar to the original but with little more playfulness. With "Ando," Delbecq and Houle close out the album on a more avant garde note. It's filled with abbreviated patterns and what must be some work on prepared piano by Delbecq. It's complex and expressive and closes out the Because She Hoped on a jubilant note.

Benoit Delbecq and Francois Houle may be an unknown name to some readers but you really should check this duo out. Because She Hoped is an enchanting, original and vibrant work that demands your attention.

The Thing: Mono

2012-01-23T07:15:00.000-05:00

The Thing (group)

Mono (SmallTown Jazz; 2011)

Mats Gustafsson (sax)

Ingebrigt Haker-Flaten (bass)

Paal Nilssen-Love (drums)

Gustafsson, Haker-Flaten and Nilssen-Love return in the best way possible--in mono. Mono is the trio's 9th (or 12th if you consider their three disc boxed set, Now And Forever) album, and it delivers with interesting and exciting results. Mono is raw as ever and captures the grit of their musicianship more so than recent recordings. If that was possible.

The funky thumping of Haker-Flaten and Gustafsson's cattle call on the opener, "Viking" signifies a pulsating and exciting experience in store for you the listener at home. It's a blistering piece that only settles at the very end. "Bruremarsj" is calm and reflective. A ballad if I could use the term loosely. Soft movements and some breathy intonations from Gustafsson, circular rotations from Nilssen-Love and almost lower registered touches on the strings from Haker-Flaten make this a deeply personal and resonate experience.

"Silver Slipper" while the shortest piece on the album provides all the aggression The Thing have come to represent--white noise, bliss and adventure. "There is Shitloads of Red Meat Missing" see the group experimenting with sound and texture. Gustafsson horn ripples along like slow water torture. Flaten and Love provide a haunting backdrop of vibrations that help close out the session.

There's definitely shades of Ornette in the The Thing DNA but they continue to make themselves stand as one of the best European trio on the scene today. Mono is just another supreme work in a cannon that doesn't seem to stop astounding. Excellent stuff.

Jason Adasiewicz: Spacer

2012-01-21T20:00:00.011-05:00

Jason Adasiewicz's Sun Rooms (trio)

Spacer (Delmark; 2011)

Jason Adasiewicz (vibes)

Nate McBride (bass)

Mike Reed (drums)

Jason Adasiewicz is burning a lasting impression on the Chicago jazz scene and the global scene as of late. His last album, and introduction to his new trio, Sun Rooms (Delmark; 2010) garnered justifiable critical acclaim. His trio have followed that up with the mystical Spacer (Delmark). While I've always seen him as this combination of Elvin Jones, Billy Higgins, Dave Pike and Bobby Hutcherson, Adasiewicz has really come into his own with unique structures and patterns on Spacer that really are astonishing.

The quiet improvisational "Solo One" opens the proceedings to be followed by the hypnotic "Hi-Touch" which slowly gathers each member's thoughts and patterns and wraps them around a more modern bebop groove. The unity that the trio exemplifies on "Run Fly" is sublime. There's an understanding between Adasiewicz and Reed where as they are almost performing in counterpart, somehow it all burns together as one. Then midway into the piece, McBride's thumping and plucking boils in the background and your senses start to move from one instrument to the other. Reed's brief solo towards the end allows the band to turn and refocus as a unit in order to head out to the conclusion.

"The Volunteer," written by McBride is a slow angular groove that while dominated by pulsating tones of Adasiewicz and Reed are molded around some bright and crafty lyricism from McBride. The soft brushes, subtle mallet touches and string movements that open "Bobbie" is beautiful. This ballad, written by one of Adasiewicz's fellow collaborators, Eric Boeren, is soft, sweet and romantic but still has the ethereal affect circling around the melody.

There's certain timbre to Adasiewicz music that most fans are familiar with. It's the way the tunes build, float and gravitate. "Waiting For The Attic" is just that kind of tune. It builds nicely and there are a number of improvised sections that are played to such a perfection that they feel like written notes. The piece then travels to climax in the middle with all instruments rolling along. And then gently settles you down for the conclusion.

I had been wanting to write a piece on Spacer for weeks now. I had intended it to be on my best of 2011 list but I just didn't get the time to absorb the music as much as I liked in order to put word to paper. I'm actually glad I waited, because no matter what, this is definitely one best records to have heard at the end of 2011 or the beginning of 2012. Jason Adasiewicz has reinvented the vibes and turned the sound into something more other-worldly. And with Spacer, he has created his best work yet. Highly Recommended.

The Intersection: Go Go Beuys Band

2012-01-18T08:00:00.000-05:00

The Intersection is an ongoing segment dedicated to global artists that are pushing and changing our definitions of genres.

Go Go Beuys Band

Markowi Nedzinskiemu in Memoriam
(Audio Tong; 2011)

Marek Cholniewski (electronics; guitars; vocals)

Krzysztof Knittel (electronics; guitars; vocals)

Olga Szwajgier (vocals)

Marek Nedzinski (sax)

Janusz Dziubak (vocals)

One of the greatest finds for me in 2011 was this unearthed collection of two mid-eighties sessions from the briefly assembled Go Go Beuys Band. Originally conceived by Cholniewski and Knittel as a series of electronic experiments, the Polish group while definitely influenced by many of the electronic group from Germany and England; should now be considered along side those pioneering bands like, Kraftwerk, Amon Duul, YMO, Faust, Cabaret Voltaire and Throbbing Gristle as one of the important bands of then unknown Eastern Europe.

Markowi Nedzinskiemu in Memoriam opens with "Czad Z Latyny" and it hits with loud bang of percussion and Brion Gysin-esque vocal manipulation. The electronics are primitive but played so interestingly you get caught in a very trippy little loop that doesn't seem to let up. "Szkocka Wojna" deconstructs itself across the board. There seems to be a lot improvising but somehow these musicians all meet in the middle of weird hallucinogenic groove.

"Rockroll" is the closet piece that has some hallmarks of aiming towards an experimental dance beat (similar to mid period Cabaret Voltaire). It's got some spacey rhythms and hand-claps that are all in the right place and show the group was expanding its ideas.

"Heavy Love," the longest track of the two sessions (just under 8 minutes) feels like Herbie Hancock's Headhunters meeting with Kronos Quartet. There's a funky vibe throughout but with this strange cello cutting across the groove. Crazy but it works beautifully. "Chodzisz Po Ulicy" plays with reggae beats and distrorted vocals while "Avant Garde" is the synth-droning polar opposite with Throbbing Gristle type movements. Still experimenting with vocals, classical movements, funky sax work and electronic beats, "Heavy Baby" is more than a just a groovy song title. It's an attempt to merge a lot of the albums growing motifs into something even more cohesive. And it works well.

Markowi Nedzinskiemu in Memoriam is more than a treasure trove of lost grooves. It's a historical document into what was happening in Poland and you realize they were diggin' the same material and utilizing those ideas to craft some great and what has to be influential work. If you can find this album it is a must for fans of the aforementioned groups but also a nice beat early electronica, industrial, prog, and whatever else you would like to call it. We just consider it an Intersection. Highly Recommended.

Jesper Zeuthen Trio

2012-01-16T08:00:00.000-05:00

Jesper Zeuthen Trio

Jesper Zeuthen (sax)

Adam Pultz Melbye (bass)

Thomas Praestegaard (drums)

Jesper Zeuthen has been an enigmatic presence on the Danish and European jazz scene for over four decades. I first discovered him on a couple of Jakob Bro albums from a few years ago. Exerting a free jazz style that would remind you of Orenette Coleman or mid period John Coltrane, Zeuthen still manages to create his own unique vision and language that is captivating and inspiring. In 2009, Zeuthen began to focus on a new trio which has since garned quite a bit of well deserved recognition of the last few years.

"Andedans" starts our journey through the group's self-titled debut (Jesper Zeuthen Trio). It's a gradual movement and as the notes unfold you realize this will be not only be an exotic free flowing trip; it will also be one with a lot of spirituality. The more philosophical aspect of the music could be derived from Zeuthen's long and illustrious career working in various European forms. It makes for an exciting experience with his new trio.

"Piru Tulee" feels like an old children's rhyme gone spiralling down a dark hole and then picked up by Albert Ayler. Great stuff. Playful, exquisitely improvised and highly effective. "Vilden Sky" opens with some wonderful improvised strumming from Melbye and as Zeuthen and Praestegaard join in the piece becomes an interesting staccato ballad of sorts. Lots of stop/starts and a few blistering notes from Zeuthen but in all an emotional piece underneath some chaos.

Live (Blackout Music; 2011), recorded after almost a year of touring Europe begins almost like Mats Gustafson's The Thing. It's a slow, calm opening of a few bars and a gradual introduction to each members style and then the trio let loose on adventure. The trio seem more at ease with each other after two years of being together. "Husene Pa Volden" and "Sin Skaeve Gang" both are solid laid back pieces that set a rich more mature tone for the evening.

Zeuthen seems more focused on structure here but is definitely not afraid to let the group fly when it has to. And fly they do on "Lad Som Ingenting." Zeuthen runs up and down the scales with fiery abandon. Both Praestegaard and Melbye are in free flowing form that matches note for every chaotic note. Melbye has some terrific, intense, swirling passages about five minutes in that you really start to gravitate to.

The trio maintain a nice balance between fiery improvisation and measured notation. The closing number "Marie Pa Baenken" illustrates this nicely. Zeuthen delivers some beautiful notes through what essentially feels like a classical chamber piece. It's dark and emotive but closes out the evening performance nicely and the audience repays the group in kind.

Unlike some larger European players over the decades (Surman, Przybielski, Brotzmann, et al) Jesper Zeuthen has quietly made his mark throughout Europe. But I hope that this current line up is something that he sticks with. They have grown leaps and bounds in just a few years and I think the next record will be quite astounding. Here's to good listening my friends...you should really check out both albums from the Jesper Zeuthen Trio.

Carlos Bica & Azul: Things About

2012-01-14T17:15:00.002-05:00

Carlos Bica (bass)

Things About (Clean Feed; 2011)

Frank Mobus (guitar)

Jim Black (drums)

I have to admit, I knew pretty much nothing about Carlos Bica until a few weeks ago. And then to find out this trio has been around for two decades made me feel pretty silly. But somehow Bica's Azul trio's new album, Things About (Clean Feed) really hit me. An album with a real sense of emotion and elegance that brims from the group's lyrical structure. It's unassuming at first, but as the disc moves forwards you begin to get sucked into the lovely tonal nature that each musician has created.

"Things About" feels like something America indie group, Low could have drawn up. It's a gentle midtempo piece that floats between folk, rock and jazz. Written by Bica and Mobus, who also share some beautiful interplay throughout the piece. Black adds soft touches as needed but also steps up the beat towards the end, giving the track some additional force.

There are times when Things About feels like the great trio records made by Gateway (John Abercrombie, Dave Holland and Jack DeJohnette). More for the mellow passages of the aforementioned than their uptempo fusion tracks. "Cancao Vazia" is one of those moments. A gentle piece that has traditional Portuguese qualities but also a sense of longing and adventure. Bica's bass wraps around you like a warm blanket. It's slow maneuvering but without this pace you can't fully digest the beauty of the material.

"2011" has a few distinct time signatures that help shift this piece beyond the normal jazz trio. It's rich with harmonics and patterns that definitely feel like an avant rock piece. Black and Bica change direction and improvise with real muscle, which also challenges the textured force of Mobus' performance. With "Sonho De Uma Manha De Outono" I may be again reminded of Gateway, only slightly. Bica delivers a well focused closing number that moves softly but embodies a number of different structured notes.

Maybe it was the time of day. Maybe it was the music I was listening to prior to this. Or maybe it was just the right time. But Things About is a quiet and richly diverse work that settled in after the first spin. For this newcomer to Carlos Bica, I have been completely blown away. I hope you are too. Highly Recommended.

Nils Petter Molvaer: Baboon Moon

2012-01-11T21:30:00.000-05:00

Nils Petter Molvaer (trumpet; electronics)

Baboon Moon (Thirsty Ear; 2011)

Erland Dahlen (drums)

Stian Westerhus (guitars, electronics)

A Nils Petter Molvaer record is always something to celebrate. Baboon Moon is no different. Well...in some ways it is. Molvaer has pared down his outfit to a trio. And while Westerhus and Dahlen have mainly performed with him in live, this set up provides less reliance on dance oriented beats and focuses on acoustic instrumentation and minimal manipulation.

There is a bombastic quality to some of pieces that made me feel as though it was Molvaer backed by King Crimson. "Mercury Heart" storms into view with heavy emphasis on Molvaer's playing (sometimes muted and sometimes just erie trumpet). Dahlen provides a pulverizing presence on drums, while Westerhus delivers all the spacial aspects through some shimmering notes on guitar and electronics.

"Recoil" ventures into more of a rock territory than anything I've heard Molvaer do in years. There are times where this piece reminded me of the Tonbruket releases. It's powerful, distorted, rhythmic, chaotic and all-around groovy. Dahlen gives an almost tribal display on that will really keep you engaged.

"Prince Of Calm" returns to the more ballad atmospheric material of Molvaer's earliest works. A slow, drone-like feeling dominated by Molvaer's almost teary-eyed performance makes "Prince Of Calm" a very personal piece. "Baboon Moon" builds slowly with Molvaer taking some extended breaths on trumpet with Dahlen and Westerhus instrumenting some lovely rolling effects that cascade louder and louder aided by the subtle harmonies of Susanne Sundfor. Beautiful, distant yet resounding.

While, Nils Petter Molvaer has been important influence on the Norwegian and European scene for almost three decades (including his years before and after Masqualero), Baboon Moon for me sees him regaining is voice and moving in new direction. The stripped down approach for Baboon Moon provides a tighter and more balanced listen for new ears and a real adventure for the die-hard fans like myself. Beautiful work.

Dennis Gonzalez & Joao Paulo Da Silva: So Soft Yet

2012-01-09T00:00:00.002-05:00

Dennis Gonzalez (trumpet; cornet)

Joao Paulo Esteves Da Silva (piano; accordion)

So Soft Yet (Clean Feed; 2011)

So Soft Yet (Clean Feed) is an album of beauty and depth. For me this latest collaboration between Gonzalez and Da Silva has even more resonance than their first stellar partnership on 2009's Scape Grace (Clean Feed). This might be due to the longer relationship together and the new material that feels both more unified and diverse.

"Como a Noite" opens the session in a delightful and romantic fashion. Filling the void with lush poetic tones both musicians are taking you on journey that will include some extraordinary exaltation as well as moments of deep reflection. "Broken Harp" has the feeling of Chick Corea and Miles Davis playing solo. Da Silva switches to electric piano and deploys some terrific and spellbinding notes. It has deep psychedelic grooves with some nice improvising from both men. Gonzalez travels up and down with a crisp and reverberating tone that along with Da Silva becomes hypnotic towards the closing passages.

So Soft Yet is deeply rooted in a more interpersonal manner that allows the listener to sink deeper and deeper into music. "Thirst" sees Da Silva on accordion and the conversation the two musicians have is playful and jubilant. The Portuguese elements are well present on this piece as it feels like you're traveling blindfolded down the town street just listening to all the sounds and creating your journey. Lovely stuff.

"Sobre Mi Mi Koracon Doloryozo" is my personal favourite. It's a celebratory piece that is both buoyant and joyous. Gonzalez and Da Silva have a unison that feels like two classical musicians who have performed together for decades. "Augurio" closes the session with dark parameters intertwined past fusion eras with modern eclecticism with beautiful harmonies.

A partnership that started essentially out of nowhere, these two renowned and revered musicians have made two astounding records in just under three years. So Soft Yet is a cool document that expands the floats with high spiritual moments that spread delicately across space and time. Emotional material and highly recommended listening.

Best Albums of 2011: The Complete

2012-01-04T20:30:00.006-05:00

JazzWrap revisits a great year of discoveries in 2011.

It was another great year of music and new discoveries for us here in the JazzWrap office. So much so that I didn't get a chance to write about all of them over the last week. So I at least wanted to make sure I listed them as much as I could.

None of these are any particular order. I really only decide on my top two absolute favourites and then let the rest lay where they may. (yeah, I know it's kind of pretentious; but so what! :-)

So here's the list of our favourites and frequently spun albums during 2011.

Jakob Bro: Time
Kris Davis: Aeriol Piano
Lars Fiil Kvartet: Reconsideration
Alog: Unemployed
Kevin Brow: Dolls & Guns
A Giraffe: Under A Table
ASA Trio: Plays The Music Of Thelonious Monk
Daniel Levin: Inner Landscape
Licak & Tuznik Quintet
Sunna Gunnlaugs: Long Pair Bond
Ken Fowser/Behn Gillece Quintet: Duotone
Equilibrium: Walking Voices
Nicole Mitchell: Awakening
Hugo Carvalhais: Nebulosa
John Escreet
Travis Reuter: Rotational Templates
Anne Mette Iversen: Milo Songs
Klang: Other Doors
Michael Dessen: Forget The Pixel
Kit Downes Trio: Quiet Tiger
Julio Resende: You Taste Like A Song
Jachna/Buhl: Unfinished Books
The Necks: Mindset
Otso Lahdeoja: Yonder
Danny Fox Trio: The One Constant
1982 Trio: Pintura
Tonbruket: Dig It To The End

Best Album of 2011: Jakob Bro

2012-01-02T01:00:00.005-05:00

JazzWrap revisits a great year of discoveries in 2011.

Jakob Bro (guitar)

Time (Loveland Records; 2011)

Thomas Morgan (bass)

Lee Konitz (sax)

Bill Frisell (guitar)

Jakob Bro's presence has been raising in recent years. His last release Balladeering, gained critical acclaim along with prior recordings with Tomasz Stanko. Balladeering was a masterful work that featured Konitz, Frisell and the late Paul Motian. That recording was a monumental step in Bro's career as leader. On his latest, Time (Loveland Records), Bro keeps the quartet setting but sans a drummer. This makes for an even more intimate affair.

With Time, Jakob Bro has written material that is even more deep and personal than the excellent predecessor. Here Konitz and Morgan mingle and create some magnificent colours. The paring of two guitar is just as intriguing as it was on Balladeering. Bro shapes the harmonics and soundscapes while Frisell adds the linear passages to pieces. "Cirkler" is a beautiful number in which Konitz and Morgan provide a calming tone surrounded by mood setting atmospherics from Bro and gentle Americana acoustics of Frisell.

Bro's writing has matured and become rich with various textures and sonic layers than even Balladeering displayed. "Swimmer" is a lonely journey down the motorway. It's a quiet and deeply melodic tone that Bro sets forth but not in a depressing way. It's more a matter of being at piece with ones self.

You can sense there's more intimacy on Time. The musicians feel more affected by each other. They have all played together in various forms over the years so they is great chemistry. "Fiordlands" is another bright moment where Bro's writing is uplifting like a Sunday morning church call. It's bluesy but with close sense of joy that quickly takes hold a few minutes in. Konitz and Bro both wrap this piece like chocolate and caramel.

The closing number "Smaa Dyr" is more of a trio (without Konitz) and it's a beautiful way to close out the album. Just as "Fiordlands" its somber in tone but you can feel the uplifting tone that rising as the piece moves further along.

I fell in love with Time minutes after it finished. Jakob Bro has circled himself with great musicians who effortless craft his material into something special. With Time, Jakob Bro should be on the radar of many jazz fans in 2012. He has grown as a leader, composer and performer. The pieces on this session has stuck with in short time of its release in November. That's why I have named Time as my album of year. Highly Recommended.

JazzWrap was honoured to have another opportunity to discuss recording Time with Jakob Bro recently. Here's a bit of that discussion.

1) Since the acclaim of Balladeering how has your recording process changed?

Time is done pretty much the same way as Balladeering…I composed the songs in August - went to a small cottage by the sea in Denmark and just wrote music for one week straight. Two weeks later I went to New York and met up with Lee, Bill and Thomas at Avatar Studio A…we started playing the songs around 11AM and played pretty much without stopping for two hours…most of the songs are first takes (as with Balladeering)…it was a beautiful experience for which I feel very grateful.

2) There's more intimacy with Time without a drummer. Was that on purpose?

Yes! I love Balladeering so much and it didn't feel right to me to go in and do the exact same thing again…so I changed the line up. I love Thomas' playing - On "Balladeering" Lee is featured a lot - on "Time" I wanted to feature both Lee and Thomas at the same time and I thought it would be really cool to do so in a very transparent setting without drums. We also recorded "Time" in a different way than Balladeering. All in the same room - sitting in a closed circle without headphones. That in itself is very intimate - you can't change a note once you've played it and you can hear even the slightest sound coming from each other. It was truly a great way to record and James Farber is so incredibly masterful at capturing the moment like that sound wise.

3) Working with Bill Frisell and Lee Konitz again must have made the recording feel like home?

Well, working with Bill, Lee and Thomas makes me feel honored and very very humble. They all play absolutely incredible on this record and I can't even describe in words how happy I am that they all agreed to join this session and play my songs.

4) Will you be touring for this record?

I'm touring more and more with my own music. Both in a trio setting and sometimes trio with a soloist…also I have been working with my nonet a bit. I do the same songs as on my recordings but of course they sound different depending on the line up. I'm not going to tour with the original line up from Time. I might do one or two shows if logistics happen to match but nothing is scheduled at the moment. I have some trio gigs lined up for my Danish trio next year, 5 gigs with Jeff Ballard on drums also and in the fall I have a 2 week tour with Thomas Morgan and a drummer.

Best Albums of 2011: Kris Davis

2011-12-31T18:10:00.001-05:00

JazzWrap revisits a great year of discoveries in 2011.

Kris Davis (piano)

Aeriol Piano (Clean Feed; 2011)

A solo performance from Kris Davis is something not to be missed. On Aeriol Piano, Davis deploys various themes and imagery that are both spellbinding and invigorating. She improvises and moves with dense angles that lead you on a complicated journey but its one that will surprise you.

The complexity of Davis' compositions are sometimes reminiscent of Keith Jarrett or Friedrich Gulda. High praise but Kris Davis is the real deal. Just as John Escreet is creating modern ideas that are moving jazz forward; Kris Davis is moving the idea of free-jazz and minimalism is can go either further.

Check out our original piece on Aeriol Piano.

Best Albums of 2011: Kevin Brow

2011-12-31T08:45:00.000-05:00

JazzWarp revisit a great year of discoveries in 2011.

Kevin Brow (drums)

Dolls & Guns (Blackout Music;2011)

With various collaborators

Drummer, composer, Kevin Brow released his third album, Dolls & Guns (his first two were with his group Koptor) this year and it didn't disappoint.

A unique mixture of improvisation, minimalism and classic themes, Dolls & Guns is an album that demands repeated listens. Featuring 13 collaborators, Brow has managed to make each piece highly rewarding and different. You get the feeling that each piece could be developed into its own full length album.

Kevin Brow's main outfit, Koptor, is more a modern jazz quartet. As a solo artist, Brow has presented a beautiful work in Dolls & Guns that demonstrates his stature as leader and composer are growing rapidly. Definitely an artist to look out for in 2012. Check out our extended piece on Dolls & Guns.

Best Albums of 2011: A Giraffe

2011-12-30T18:30:00.010-05:00

JazzWrap revisits a great year of discoveries in 2011.

A Giraffe (group)

Under A Table (self produced; 2011)

Joe Santa Maria (sax)

Mike Lockwood (drums)

Steve Blum (piano)

Emilio Terranova (bass)

Hailing from California, A Giraffe was a pleasant surprise when I first gave it a spin. They are contemporary but with just enough young bite that it standouts from a crowded field. The band's debut, Under A Table features some fine performances circling around some complex structures. Tracks like "You Shouldn'tven't" and "Crucial Present" demonstrate the quartet's flare for excitement. But at its heart, A Giraffe are a modern group with some fascinating ideas rolled into the mindset of four excellent musicians.

The opening track "A Ranger" has multiple counterpoints and is driven by some great improvising by Blum and Santa Maria. Lockwoods drums cut across the plan is crisp, sharp fashion; along with Terranova's pounding drone-like bassline. Check out our full discussion of Under A Table as well as the interview we conducted a few months ago.

Best Albums of 2011: ASA Trio

2011-12-30T08:00:00.001-05:00

JazzWrap revisits a great year of discoveries in 2011.

ASA Trio (group)

Plays the music of Thelonious Monk (self produced; 2011)

Scott McLemore (drums)

Anders Thor (guitar)

Agnar Mar Magnusson (organ)

When I first heard ASA Trio I was blown away. Now almost 12 months later, I'm still stunned by the unity and excitement this trio can generate. Their debut full length, Plays The Music Of Thelonious Monk is fueled by leader, Agnar Mar Magnusson's driving organ. A challenging mixture of John Patton and Larry Young, Magnusson knows when to swing and when to pull back. Both McLemore and Thor add the colourful force around that help the trio's drastically different selections on Plays Monk. The trio move from bluesy rhythms of "Raise Four" to the resounding version of "Straight No Chaser."

ASA Trio was a refreshing discovery earlier this year and I've been trying to spread the news to as many friends as possible. You don't get trios like this very often. Especially a trio led by the organ. Plays The Music Of Thelonious Monk is and album that let's everyone know ASA Trio is a group that must be heard!

Best Albums of 2011: Daniel Levin

2011-12-29T16:00:00.001-05:00

JazzWrap revisit a great year of discoveries in 2011.

Daniel Levin (cello)

Inner Landscape (Clean Feed; 2011)

Releasing three records in a year made my decision extremely difficult as to what to choose from cellist, Daniel Levin, growing catalog. But after some intense listening and probably even closing my eyes and pointing, I finally decided on Inner Landscape. A solo work divided into six suites (if you don't mind me calling it that) that are expansive, challenging and entertaining.

Levin's great skill comes in creating a sound that is not only enveloping but it explodes your original theories of what the cello can do. His performances on record and live are beyond both jazz and classical. Inner Landscape is an improvised masterpiece but burst with undulated patterns and themes. You should expect the unexpected when taking this journey. "Landscape 3" might be the only piece that is calming to uninitiated but this is an album that demands you attention to the detail.

Inner Landscape was Daniel Levin's first solo cello album after a series of duos, trios and ensemble sessions. It's great to hear what his world sounds like all on his own.

Best Albums of 2011: Sunna Gunnlaugs

2011-12-29T08:00:00.000-05:00

JazzWrap revisits a great year of discoveries in 2011.

Sunna Gunnlaugs (piano)

Long Pair Bond (self produced;2011)

Scott McLemore (drums)

Thorgrimur Jonsson (bass)

On Sunna's seventh album, Long Pair Bond, she really steps into her own. Her language has always been very intimate. But within this trio setting she has writing material that is well suited for the format. There are also a few numbers written by others (including drummer, McLemore).

The intimacy and calm that Long Pair Bond has a chamber like quality to it that could easily be place along side Keith Jarrett or Fred Hersch. But there is also the vitality in her work that shines for me, as evident on "Autumnalia" and an older number "Crab Cannon."

As an independent artist, Gunnalaugs has the liberty of writing, produced and recording when and what she pleases. I think this allows the really artist's personality to shine through. I discussed in our original piece on Long Pair Bond about the unique process on how this record was being produced. It's an interesting venture for musicians who have solid and devoted base. It's not for everyone but it is worth looking at. And in today's music/economic environment, not a bad idea at all.

On the musical side, after continually listens over the last month, I really have to repeat, Long Pair Bond is phenomenal.

Best Albums of 2011: Tomasz Licak & Artur Tuznik

2011-12-28T19:45:00.001-05:00

JazzWrap revisits a great year of discoveries in 2011.

Tomasz Licak (sax) & Artur Tuznik (piano)

Quintet (Blackout Music; 2011)

Andreas Lang (bass)

Anders Mogensen (drums)

Tomasz Dabrowski (trumpet)

In a similar fashion to The Fowser/Gillece Quintet, Tomasz Licak and Artur Tuznik debut a new group this year with the simple title, Quintet. It's has all the traditional elements of a modern jazz record but with nice balance of hard bop and a few refreshing breaks in improvisation. Licak's horn is bold and well rounded. While Tuznik adds soft melodies when needed and an almost McCoy Tyner-esque rhythm.

The group can definitely swing ("Uwaga"), caress a note ("Nardis") and even set the flame ("Hobbit"). Early into the session, "Rainman" provides a nice glimpse into the bond this group have develop as Lang and Mogensen move things along at groovy but sweet pattern.

The Polish/Danish quintet wrap and number of influences but still come out with something fresh and rewarding. The are American effects at play but Licak and Tuznik are developing their own voice. And that voice should hopefully expand beyond Poland and across Europe and hopefully stateside some time soon. We hope. Read More> Quintet is an excellent contemporary record and real must listen in 2011.

As always, many thanks to Maciej at Polish Jazz blog for turning me on to Licak and Tuznik.

Best Albums of 2011: Behn Gillece & Ken Fowser

2011-12-28T06:30:00.002-05:00

JazzWrap revisits a great year of discoveries in 2011.

Ken Fower (sax)

Behn Gillece (vibes)

Duotone (Posi-Tone Records; 2011)

Donald Vega (piano)

Willie Jones (drums)

David Wong (bass)

Of all our favourites we might discussion this week, Ken Fowser and Behn Gillece's Duotone is probably the one album that could be universally accepted by both jazz new comers and hardcore listeners.

Duotone is like a good club night out. It's smokin' at the right moments ("Overcooked" and "Back To Back"), gently ("In Twilight") and even playful ("One For G"). But outside of setting the mood, Gillece and Fowser grown as musicians and writers. The music on their third album is tighter, well balanced and executed brilliantly by everyone in the quintet.

Gillece and Fowser have made a name for themselves in the New York scene by playing frequently at a number of smaller clubs. This is a duo will definitely be around for a while and if you ever wanted a great contemporary hard bop jazz record, you absolutely can't go wrong with Duotone. Check out our full discussion on Duotone from a earlier in the summer.

The following video was done David Rapoport.

Best Albums of 2011: Equilibrium

2011-12-27T08:30:00.002-05:00

JazzWrap revisits a great year of discoveries in 2011.

Equilibrium (trio)

Walking Voices (Songlines Recordings; 2011)

Sissel Vera Pettersen (voice, sax)

Joachim Badenhorst (clarinet)

Mikkel Ploug (guitar)

Simply put, Walking Voices is one of the most beautiful records you'll hear all year. There is a blissful nature to the music. Pettersen, Badenhorst and Ploug weave a delicate web of electronics, folk and chamber classical themes into a dream-like soundscape built on the 15 solid pieces. Incorporating these themes may seem difficult but this trio do it with ease.

The spiritual flowing "Silverise" embodies the aesthetics of the group. It's atmospheric, organic and exploratory. Invoking the essence of Eno, Glass or Laurie Anderson, "Whitless" is awash of multi layered effects both vocal and electronic that will leave a dizzying effect on you as to the strength of this trio.

In our original piece on Walking Voices, I discussed how Equilibrium have shown they are beyond description and that the music revolves and involves with many themes and varying sounds. This still holds true as I listen to again today. Each of the musicians has there own successful groups that they led but together they are one of the most innovative to come on the scene in recent years.

Best Albums of 2011: Nicole Mitchell

2011-12-26T19:00:00.003-05:00

JazzWrap revisits a great year of discoveries in 2011.

Nicole Mitchell (flute)

Awakening (Delmark; 2011)

Avreeayl Ra (drums)

Jeff Parker (guitar)

Harrison Bankhead (bass)

Awakening was one of a slew of records that came at me out of nowhere. I quickly feel in love with Nicole Mitchell's performance here. The writing is tight, spiritual and groovy all at once. As I mentioned in my discussion of the album, it brings back a lot of that Black Power Jazz that floated between Detroit, Chicago and New York in the late '60s and early '70s. There are also moments where the experience of playing with the likes Rob Mazurek in Exploding Star Orchestra seems to have rubbed off ("Journey Of A Thread"). The quartet setting allows the individuals to stand out more. Mitchell's quiet and personal display on "Snowflakes" is indicative of touching Awakening can be on the listener.

Jeff Parker compliments Mitchell on this session with stellar playing that shift from blues to improvised jazz so smoothly you barely notice the changes. Harrison Bankhead and Avreeayl Ra (bass and drums respectively) do more than keep the time and rhythm. Ra's solo during moments is killer and unexpected after the mood Mitchell has set to this point. Bankhead adds a funky but sinister bassline to "There" which Mitchell tempers with some gentle but free moving colours.

Awakening is a laid back, psychedelic, soulful work that won't have you talking about the flute. It will have you taking about the composer. Here's our first discussion on Awakening.

Best Albums of 2011: Hugo Carvalhais

2011-12-26T11:10:00.000-05:00

JazzWrap revisits a great year of discoveries in 2001.

Hugo Carvalhais (bass)
Nebulosa (Clean Feed; 2011)
Tim Berne (sax)
Gabriel Pinto (piano)
Mario Costa (drums)

I have probably listened to this record at least 3 times a month since the beginning of year. That might not sound like a lot but I've got a lot of music so trust me--it's a lot. Hugo Carvalhais created a record in Nebulosa that is so dense yet vivid with imagination that you really have to stop, sit down, and focus your mind around the instrumentation and sonic resonance his group are shaping.

Even now almost two months later I'm finding new sounds and classical elements from Tim Berne ("Impala") and from Gabriel Pinto ("Nebulosa II" and "Nebulosa III") that I hadn't noticed originally. Even the more contemporary flavor of "North" I'd hadn't noticed until a few months ago. Carvalhais' writing is sparse and allows for improvising at just the right moments.

The sonic adventure alone is just one of the many reasons why Nebulosa is one of my favourites of 20011. Check out our thoughts from earlier this year: Hugo Carvalhais Nebulosa.

Best Albums of 2011: John Escreet

2011-12-25T17:00:00.003-05:00

JazzWrap revisits a great year of discoveries in 2011.

John Escreet (piano)

The Age We Live In (Mythology Records; 2011)

Marcus Gilmore (drums), David Binney (sax)

Wayne Krantz (guitar), with Brad Mason (trumpet)
Max Seigel (trombone), Tim Lefebvre (bass), and

Christian Howes (string orchestration)

Exception To The Rule (Criss Cross; 2011)

David Binney (sax), Eivind Opsvik (bass), and Nasheet Waits (drums)

John Escreet has been on the rise the last few years. A well disciplined associate of Jason Moran, Escreet combines complexity and beauty into a more cerebral jazz that is both forward-thinking as it is accessible.

This year has seen the release of two distinct albums, both recorded a month apart. And both albums show that Escreet is quietly climbing up the ladder of important post-modern jazz musicians. The first release of the year came in the form of the expansive, The Age We In Live In (Mythology Records). A Pandora's box of possibilities, Escreet creates a document that encompasses elements of fusion, ambient, modern, and rock, and all with sincere cohesion and deep sense of adventure. "The Domino Effect" rolls out the gates like a beast, thanks to some fantastic playing by Krantz on guitar and Escreet's infectious, Headhunter-esque work on fender and keys. Binney and Gilmore both cut a large chunk of counterpoint, which makes for blistering conclusion.

The title track feels like it has more in common with King Crimson or Mahavishnu Orchestra. It's epic, with monstrous tones from Binney and Gilmore. Escreet draws a futuristic picture with an inward performance that pulls you into a different soundscape. Guest musician, Max Seigel (trombone), provides a foil for Binney to bounce concepts back and forth with as the sounds get bigger and bigger. "As The Moon Disappears," is an ethereal piece featuring Escreet in a mixture of piano and keyboard. A haunting piece that has the beauty of Eno's Discreet Music and Komeda's Rosemary's Baby. The Age We Live In turns out be a melting pot of rich ideas and shows Escreet really stepping into his own.

One of things that continually astounds me about John Escreet's music is the diversity of his compositions. His language is rising to a different level, higher than some of his contemporaries. Only few weeks later, he returned to the studio to record similar abstract themes with a second set of musicians (also including Binney) in the shape of Exception To The Rule (Criss Cross). There's a small bit of contemporary playing here that reflects the sound of the label, but overall this is still a broad-minded John Escreet session. "Collapse" demonstrates the group in beautifully twisted form. It's a complex piece with multiple themes that rise and fall. Escreet allows the musicians to work freely, but they all seems to come back together at just the right moment. This creates a unique melody and rhythm that is both somehow transcendent and linear before you realize.

"Escape Hatch" is a dizzying array of improvised notes, with the group in moving in various directions and at times creating a groove out of nowhere. Opsvik's bassline holds things together so the rest can roam freely. There's a classic approach to "Wide Open Spaces" in which Escreet provides a chamber music setting. The piece is dominated by Opsvik's bass. But Escreet has delicately placed notes for everyone to touch upon creating a wonderful sound out of nothing.

The electronic work on "Electrotherapy" feels like something off a John Foxx album. It's brief and atmospheric and really shows Escreet has been listening to a lot of different sounds over the last year. "Waynes World," is a piece originally on Escreet's first album. Consequences has the same fiery structure but features a lot more texture than its parent version, and it represents a nice way of closing the album but reminding the listener that this is where we came from but not where we're going next...

You don't get artist releasing two records in a year these days (with the exception of say, Wynton Marsalis). But when you have an artist with the exceptional talent and complex compositional thinking as John Escreet, you have to take notice. The Age We Live In and Exception To The Rule could easily be one double album under the same concept, but they are enjoyable and challenging as separate entities. These are two records that you shouldn't miss out on this year.

Wadada Leo Smith: Dark Lady Of The Sonnets

2011-12-19T07:30:00.001-05:00

Wadada Leo Smith (trumpet)

Live At Roulette NYC 16.12.2011

Dark Lady Of The Sonnets (Tum Records; 2011)

Pheeroan akLaff (drums)

Min Xiao-Fen (pipa; vocals)

A Wadada Leo Smith record or concert is always going to be an experience. There will be unquestioned excellence on the part of the leader. There will be intricate direction given to his bandmates. And there will always be unique use of sound and space which creates a very interesting ride for the listener and audience.

Wadada celebrated his 70th year with a devoted group of New Yorkers (yours truly included) who experienced a wide range of styles and ideas flying from the dreads to trumpet. It was an evening of two distinct lineups. First his Sextet, which deployed more of a "work-in-progress" minimal session. The trumpet gave very tight direction to the members but they each utilized it with superb effect. The standouts were Susie Ibarra, who continually shows why she is one of the best avant garde drummers on the scene. She had a force and fluidity that felt like a tsunami. John Lindberg on bass was also stellar, with a performance that seemed to move in and out of consciousness. The closing piece I swear his bass was set up to a wah wah kit because those grooves were funky and psychedelic all at once.

The second lineup featured members of his Organic Ensemble and Silver Orchestra's. This lineup floated between experimental, funky and fusion. Their previous releases, Spiritual Dimensions and Hearts Reflections are reflected in this performance. There's a more structured and obviously larger sound. The group feels more unified and head in the clear direction. There is space within the notes to improvise whether it is with electronics, vibes, guitars or Smith's distinct notes. This set had more for the audience to grasp onto and went in enough directions that it was immensely enjoyable.

Moving away from the present's large ensemble works to a recent past studio session, Dark Lady Of The Sonnets (Tum Records), recorded in 2007 but only released this year, celebrates life with a real sense of intimacy. It actually took me a couple of listens to really connect with the record. I had been so accustomed to the larger ensemble works that hearing this relatively quiet piece was a little jarring.

The trio setting really allows you to feel a lot more of Smith's playing than ever before. "Sarah Bell Wallace" is dedicated to Smith's mother and it is a somber piece but also features high moments which signify the celebration of her life.

"Blues: Cosmic Beauty" is more what I was used to. A burst of energy from Smith's trumpet with a unified but free form moves from both longtime bandmate Pheeroan akLaff and Xiao-Fen's excellent and unique sounding pipa. The piece gently descends in the middle with akLaff and Smith sharing interchanges with Fen's improvised vocalise. Both "Dark Lady Of The Sonnets" and the closing piece "Mibra" both see Smith's trumpet rising higher and higher. The proceedings are more upbeat and enthralling but still challenge your patience.

Dark Lady Of The Sonnets is about emotion and inner beauty. It's one of the more well focused yet still open flowing albums Wadada Leo Smith has recorded. This is a great record hot on the hills of his Organic releases. And its a great way to celebrate his 70 years of adventurous sounds. Happy Birthday Mr. Smith.

Stacey Kent: Dreamer In Concert

2011-12-15T07:15:00.001-05:00

Stacey Kent (vocals)

Dreamer In Concert (Blue Note France; 2011)

Matt Skelton (drums)

Jim Tomlinson (sax)

Jeremy Brown (bass)

Graham Harvey (piano)

There are some artists where integrity and tradition are integral to their delivery and success. Stacey Kent has delivered integrity and a sweet panache for tradition for almost two decades now. She has maintained a huge following with a sweet mastery of the American Songbook but with her last record, Reconte Moi (Blue Note; 2010), she advanced and widened her net a bit among jazz fans. The addition of a number of interesting French standards may have been a big part of it too.

The album was obviously a big hit in France which is probably what prompted the concept of her first ever live album, Dreamer In Concert (Blue Note). I've always had a tough time describing Kent to friends. But the best description would be soft, calm and undeniably impressive. Like a young cool Astrid Gilberto and soft lion-like courage of Tony Bennett or think on the pop side, Carole King. And now in addition to dragging my friends to her shows every year I can now bombard them with a truly stunning document of what its like to sit in the audience and get lost in her voice and her band's unique strengths and unity.

"Postcards Lovers" a love song awash with memories and passion that is built on the poetry of Kazuo Ishiguro, but delivered by like a wise sage, Kent will have your heart melting. The upbeat tempo of "If I Were A Bell" would put any music fan on their knees in awe. Kent captivates here in way that Anita O'Day or Rosemary Clooney would. Hitting the forceful notes but always keeping a gentle handle on the proceeding so the listener remains focused on the lyrics and creates their own life-story.

The Latin rhythms of Jobim's "Dreamer" are accentuated by the her marvelous band, especially Harvey's enveloping fender rhodes. Tomlinson's romantic notes feel like something out the best periods of Stan Getz. Skelton and Brown adds lovely touches on percussion and bass the are integral to the movements. This is a group that has been together for awhile and you can hear it in every note. "Jardin D'Hiver" sees Kent absorbing herself fully into recent French popular music (the piece originally written by French musician, Benjamin Biolay). The chanteuse delivers a sultry and impassioned version adds a gentleness to the husky original. The two versions do stand apart and Kent has made this piece her own.

The best part about Dreamer In Concert is that fans who may not have seen (or may never get to see) the illustrious Stacey Kent, now have an opportunity to experience what I've been telling them for years. She is one of the few true female jazz vocalists on scene today. A warm, inviting tone that is captivating as well as invigorating. This is one of those few and perfect live albums that is a must own. Highly Recommended.

The Ames Room: Bird Dies

2011-12-12T07:45:00.002-05:00

The Ames Room (group)

Bird Dies (Clean Feed; 2011)

Jean-Luc Guionnet (sax)

Clayton Thomas (bass)

Will Guthrie (drums)

Power trios come with various sounds and sizes. The Ames Room may be small but their sound is bold and forceful. This French/Australian trio lays into you like the first time you got beat up as a kid. It's sheer brute force and once you finally give in there is this little blissful nature that sets in. The feeling that this might be all there is left for you. But The Ames Room help you realize there's more inside the noise than you realize.

The Ames Room have only been on the scene for a short time (since 2007) but have crafted a sound that is blistering and beautiful. Fans of Vandermark, Gustafsson, Haker Flaten and Nilssen-Love are sure to gravitate to the trio's new album, Bird Dies (Clean Feed). This one piece live recording follows up where their debut, IN (Monotype Records; 2010), left off--a full frontal attack of chords against the borders of a genre.

There's no build up here. The Ames Room make their statement known from the first note. They come out of the gates ripping forward like Gustafsson's The Thing in mid-performance. The staccato drums, breakneck sax and suffocating basslines that dominate the first 15 minutes of the piece are impressive for the duration as well as the stellar delivery.

The gears shift only slightly around the 23min mark. Guionnet's takes the lead but is challenged perfectly by Guthrie's cascading patterns. Meanwhile Thomas paints a small rhythm in the background. There are moments just after the half hour mark that remind of Ornette Coleman's Change Of The Century. A calm descends on the closing ten minutes only to be resurrected to the opening salvo of white noise which cuts deep then comes full-stop.

The audience at this performance was probably left in awe. You can only briefly feel it from low volume mic on the audience. But make no mistake The Ames Trio is building a following and will leave an indelible mark on your senses. Bird Dies is challenging music but isn't that what music is all about?

Enjoy...

Pascal Niggenkemper: Upcoming Hurricane

2011-12-09T07:45:00.000-05:00

Pascal Niggenkemper (bass)

Upcoming Hurricane (NoBusiness Records; 2011)

Simon Nabatov (piano)

Gerald Cleaver (drums)

I was already familiar with Pascal Niggenkemper's work as a result of the release, Klippe by Thomas Heberer, early this summer and a superb trio with Robin Verheyen and Tyshawn Sorey, PN Trio. So this was always going to be an exciting adventure to see what his new trio would put forth. And the new album, Upcoming Hurricane, pretty much says it all. This is a heavy storm of sound that comes on quietly but resonates brightly over 60+ minutes.

Clean, open and improvised, Niggenkemper is a brilliant performer but more importantly an astute and crafty composer and leader. Niggenkemper's idea of space, wind and earth as a theme for exploring music is embedded throughout this session.

The title track comes rolling in like a swarm of bees. The addition of Simon Nabatov (piano) provides a deeper and introspective outlook than PN Trio which was sax, bass and drums. Nabatov's free formed pounding keys intersect with Cleaver's pulsating drums and Niggenkemper's expertly dense bowed bass making for an intense listen. But it unfolds beautifully in all its clattering glory. There a rising tempo that reaches an epic two thirds of the way through that you have to really hold on tight because things could get out of hand. And suddenly all three musicians release you as if you were never there.

"Arbol de piedra" reverses the setting. It's a piece with a lot of space and room for each member to interpret freely. Cleaver touches around the outside of Nabatov exploratory notes. While Niggenkemper floats in and out of the melody with dreamlike quality. It's piece that allows the listen to think a dwell and become absorbed into the spaces between the notes.

"Fighting The Mill" is Niggenkemper's piece. It's improvised yes but Nabatov and Cleaver add the chaos to talented bassists more cerebral movements on this number. The storm hits midway through as the trio goes off in different directions while somehow still holding your attention as to what the next note might be. Exquisite execution by composer and trio. There's even a small groove that develops about three minutes from time (I sensed it while listening on my headphones). It doesn't last long and is a direct result of the free flowing atmosphere of the session that notes and ideas began to fold into one.

Upcoming Hurricane along with Niggenkemper's previous PN Trio are both excellent documents of this rich talented bassist with an ever-evolving palate of themes.

This video is from PN Trio.

Julian Siegel: Urban Theme Park

2011-12-07T07:45:00.001-05:00

Julian Siegel (sax, clarinet)

Urban Theme Park (Basho Records; 2011)

Liam Noble (piano)

Gene Calderazzo (drums)

Oli Hayhurst (bass)

I really hadn't listened to much of Julian Siegel's music. I had always known about his highly influential band, The Partisans, but was always unable to find the albums here in the states. His latest release Urban Theme Park (Basho), from the unfortunately infrequent but extremely rewarding quartet with his name, Siegel has created a commanding work well deserving of wider attention (especially Stateside).

The group consisting of all dominant and very notable leaders, runs like a well oiled machine. Noble, known more for his work in avant garde circles (as well as his own quartet) with recordings featuring Ingrid Laubrock and Tom Rainey, delivers some powerful statements on the keys. Calderazzo, a veteran of both U.S. and British scenes, has played alongside some of best of the modern and contemporary era--from Phil Woods to The Partisans. His drums propel and at times gently guide the group on wonderfully melodic passages. And finally, Oli Hayhurst, delivers dense and emphatic performances that have monumental effects on the groove throughout this session. His work with Gwilym Simcock, John McHenry as well as Tom Rainey, allows him to move between contemporary and improvised worlds.

"One For J.T." (for British pianist, John Taylor) and "Heart Song" show off two different and distinct sides of the quartet. "One For J.T." is a hard driving boppish number that sees the group performing on all cylinders. Siegel's playing blasts upwards but is equalled by each member. There is a clear sense that while the name on the CD says Siegel, the group is defiantly a group. The exchanges and cascading notes that Siegel has with each member on this piece are clear and individualistic.

"Heart Song" is more intimate. A piece that revolves around some excellent and touching work from Siegel on clarinet. Noble's playing adds colour and shape to Siegel's free flowing notes. Calderazzo and Hayhurst are slightly reserved in the mix but their tone is felt at key moments in the piece--especially a small effective exchange towards the closing notes from Siegel.

"Interlude" sees Siegel switching to bass clarinet for some interesting results. The opening chords alone should make you stand up and take notice. Not in the same free jazz realm as the recently discussed Jason Stein release, but Siegel's display here suggests that he has more hiding up his sleeve that will be revealed as the records continue to flow. This is a vibrant piece that may be classical in theory but is free spirited in performance and energy.

"Drone Job" might be the one piece that throws you for a loop. The quartet turn slightly Headhunter-esque but somehow they pulls this off. It's bold and refreshing to hear, even as a closing number. Featuring frantic notes that move sideways and upwards but still level inside the group's unison dynamics--this is an unexpected fusion treat.

While not knowing much about Siegel's previous efforts and going on the strength of this project alone I feel I have unfairly shut myself out from one of the best un-kept secrets in British jazz. Urban Theme Park is one of the best and exciting British records of the year. And now I have a lot of new records to buy in the next few months. Thanks Mr. Siegel...

The Intersection: Otso Lahdeoja

2011-12-05T00:00:00.046-05:00

The Intersection is an ongoing feature on JazzWrap that looks at artist that blended jazz, world and electronica in new and highly creative ways.

Otso Lahdeoja (guitar, electronics)

Yonder (Audio Tong; 2011)

It's always wonderful to make new discoveries. And with music it provides even greater emotion gratification. Music is designed to connect with you on a psychology and emotional level.

When the music is surprising and startling its even better. That's how I felt when I finished listening to Finnish guitarist, Otso Lahdeoja's solo debut, Yonder (Audio Tong).

Otso comes at the music from many different angles. Working in both art installation, dance, science/research provides him an interesting prospective into how to construct his pieces.

With what Lahdeoja calls an "augmented guitar" of his own design he sculpts atmospherics that are reminiscent of the some of the best ambient work by Michael Brooks, Terje Rypdal, David Gilmour or David Sylvian. It warm, creative and highly exploratory.

"Haunted" opens with such a feeling. A feeling of loss but also an open road on a journey to something new. I felt like this piece would make the perfect opening to psychology sci-fi thriller. Errie with loops, effects and melodies that are also lush and beautiful. It's a listen that carries the listener on a journey where there might not be an ending.

Lahdeoja's use of real-time manipulation electronics forms infinite possibilities on the sounds he constructs. One would start to assume this would mean that the music is just one person playing around on-the-fly for giggles and kicks. That would be far from the truth. The soundscapes created here are improvised but within a certain set of constructs that have to be specifically performed as well as programmed.

"Aivovuoto" and "Banjo," the two lengthiest pieces both explore sound, empathy with hovering harmonics that leave a visual and sonic fingerprint on the listener. "Banjo" has a blissful undulating quality that would almost sound like an outtake from David Sylvian's Gone To Earth.

Otso Lahdeoja appears to have brilliantly utilized his skills in various multi-media to create a real document of sound and vision, in Yonder, that exciting as it is intriguing.

The Intersection: Alog

2011-12-01T06:45:00.003-05:00

The Intersection is an ongoing feature on JazzWrap that looks at artists that have blended jazz, world and electronica in new and highly creative ways.

Alog (duo)

Unemployed (Rune Grammofon; 2011)
Espen Sommer Eide (percussion, trumpet, electronics)
Dag-Are Haugan (guitar, electronics)

The Norwegian duo, Alog have matured with each release. As they've grown, so have the sound techniques and dimensions of their recordings. Their fifth full-length release, Unemployed, is a major milestone in the duo's development.

Built on pure improvisation, Alog looked to create a soundscape on the spot as opposed to starting with one theme. Yes the ideas how to start the first few notes or lines was always a part of the mix but after that it was up to the participants to decide where to go next.

Unemployed is a testament to the free flowing aesthetics of European music and what it means to go beyond genres. In some ways this is almost the most alternative and accessible record to date by the group. The album features collaborations with a variety of fellow Norwegian musicians including Sigbjorn Apeland (of 1982 Trio). "Orgosolo" features the duo's signature harmonic drones but with the inclusion of what feel like deep horns and pulsating organ-like movements, Alog have created a haunting operatic and transcendent hymn.

"Unemployed" revolves around a looping hypnotic gallop that would make A Guy Called Gerald and Aphex Twin very excited. It's a wintry mix of loops, clangs, claps and effects that swirl into a melody. It gave me memories of Bruce Gilbert's (of Wire) side project He Said. Dreamy and evolving work that leads the listener along a journey beyond sound borders.

"Last Day At The Assembly Line" could easily be part of a Throbbing Gristle, Cabaret Voltaire or Test Department album. There are "found sounds," electronics and drums that blend into a tribal cacophony that sounds like a cello/fiddle ensemble gone mad. The piece later gives way to a melodic drone and the buzzsaw of cacophony is laid underneath. Only to return towards the end with a vengeance along with a number of counterpoints. "Bomlo Brenn Om Natta" featuring warped vocals by Dutch poet, Jaap Blank, is rhythmic and intense like some of the better work by Moby. Not danceable but an intense beautiful listen.

"Januar" is a return to their previous work. It's beautiful ghostly atmospherics have a repetitive nature that are dreamlike and pull you further into the speakers to Alog's own "third world." Again, Alog have moved a little bit further than their contemporaries with ideas that seem so remote but yet feel deeply personal and accessible. Unemployed is sublime and highly recommended.

A Users Guide To Rob Garcia

2011-11-28T08:00:00.002-05:00

Rob Garcia (drums)

Diversity is always a key element for outstanding jazz composers. Rob Garcia covers this path and more. While he has performed with wide array of jazz artists, including Steve Davis, Joe Lovano, Reggie Workman, Dave Kikoski and Bruce Barth, he is always a well grounded personality with a degree in holistic medicine and a even rarer distinction of being an ordained minister. This might explain his ever expanding duties and participation (currently two community/collective groups) in helping fellow musicians in New York City gain greater access and exposure.

This openness and desire to grow as an individual and a musician can be seen throughout Rob Garcia's work. On his debut, Place Of Resonance (Consolidated Artist Productions), Garcia emits a personal ethos that carries through his arrangements and the musicians who are performing them.

A unique sense of direction and calm flows on every tune. "(A Jump In) Quicksand" is one of those moments. A peaceful number that is delicate and touching as a result of Michel Gentile's fiery flute work and Garcia's crisp precision (especially on the solo towards the end). But also the masterful, pulsating work that Michael Formanek gives to the bass will make your heart start to beat in unison with the piece.

"Resonance" showcases, Dave Kikoski's immense talent and he gently crafts Garcia's piece into a sublime set of movements with patterns that would easily make Oscar Peterson smile. Kikoski has always been one of the under-rated pianist of the last 20 years but within Garcias arrangement he really does shine. Matt Renzi's performance is bold and yet understated. Garcia adds strong timing and punctuations to compliment his bandmates but when it comes time to step up he lets things rip and the listener has to take notice.

"Somewhere Along The Path" and "Fleurette African" (a lesser known piece by Duke Ellington) showcase a more gentle side to Garcia's compositions. Both have a lovely melodic tone that captures the group in a contemporary form but also completely soulful in a spiritual way. Originally recorded in 1998 (released in 2001), you would have thought it was recorded a week ago. An incredibly strong debut. Overall, Place Of Resonance is a stellar debut that when you find it, it is well worth every dollar and will repay you with every note.

While side projects and performing with other musicians consumed a good portion of time after the excellent debut, Rob Garcia would return in 2007 with a completely different lineup (except Michel Gentile on flute) on Heart's Fire (Connection Works Record).

A set that has elements of modern/contemporary jazz as well as some lovely Latin tinged numbers. The addition of Yoon Sun Choi on vocals feels fresh and vibrant. Choi emits an almost Karrin Allyson (or British R&B/Jazz vocalist, Juliet Roberts) quality through numbers like "It's Ruby" and "Be A Lover". Heart's Fire delivers with delicious and infectious rhythms that still contain the spiritual undertones that were present on Place Of Resonance.

Garcia performances sound energized by the new group and the joyous atmosphere here really gets your toes tapping and your body moving. Daniel Kelly takes over piano duties on Heart's Fire and while not as gentle and introspective as Kikoski, his playing fits perfectly with Garcia's global arrangements. "Sangha" (also the nickname of the Garcia's group) is a Buddhist term meaning community. This is obviously one of the stellar pieces on the set. Garcia's drum and percussion work is essential to the movement of this piece. It's reminds me of some of the early work by Mongo Santamaria. Along with Choi and Kelly this "Sangha" floods your consciousness with a sense of belonging. "Thank You" adds that little bit of latter period Elvin Jones/Rashid Ali circa Coltrane bliss to make for a beautiful closing number.

Growing as a composer, leader and performer, Garcia would move on to be a part of another collective, this time as a member of the Brooklyn Jazz Underground which would release his third album, Perennial (BJU Records; 2009). While his previous two releases were vibrant and searching for a different type of peace, Perennial feels like Garcia has achieved the spiritual balance between composition and performance (both from within and with is band).

Settling in with a new quartet instead of the ensembles of his first two albums brings the tunes into very tight focus. Noah Preminger on sax has a more personal tone that stands before like a mirror. Dan Tepfer, whose work with George Schuller had struck me a few years ago, sounds immaculate here.

Garcia again creates a sound world that is both personal and forward looking. There is a sense of search for what comes next. Another reference to the spiritual nature of the man and his music. "Season Of Stone" exemplifies that ethereal calling with superb deliver from each member. Garcia gives them all opportunities to shine through. Bassist, Chris Lightcap has a steady rhythm and blends well with Tepfer and Preminger's melodic tones. Garcia keeps the group in line with some subtle taps and swathes but it is the rolling nature of the "Season Of Stone" that keeps the listener engage from note to note, chord change to chord change. Intense and exhilarating.

"Vortex" feels like it could fit snug onto a Monk record. A close beatnik-like feel comes over me while focusing on Lightcap performance. It's just under the crisp notes of Preminger but you get a real free movement here that Garcia hadn't shown on previous albums. The tune switches gears quickly midway through and group stretches in multi-layered fashion but revolves back to a lay the tune gentle back on its feet. "Little Trees" might be the most forceful, fragmented and raucous of Garcia's pieces on the album. Feeling like a suite it encompasses a number of different themes which each member there moment. They all intersect with Garcia's changing patterns and timing. This group has a definite identity and sense of adventure which is catapulted by Garcia's writing.

The sense of adventure and ever-moving forward get solidified with The Drop And The Ocean (BJU Records; 2011). An album that is solid from start to finish, Garcia seem to have settled in on the quartet format (for the time being) and it works well for his compositions.

The stability Preminger and Tepfer carries over, now added by the increasingly omnipresent and cerebral bassist, John Hebert. And while there is adventure on The Drop And The Ocean, there is more a feeling of oneness that permeates through each piece.

Garcia's spiritual concepts come into play again as The Drop And The Ocean is a journey to finding inner peace. "Will" swirls with freedom and imagination that the individual can do what she or he plans to do. Perminger opens things up with a length set out resounding notes quickly joined in by the rest of the group. Tepfer and Garcia have a beautiful exchange early on that seems both improvised and uniquely written. "Lost By Morning" will have you imagining sitting at a table on clubnight listening to this quartet softly carry you and your thoughts far away. A ballad that's real focus is to make you stop, relax, think, listen and move on. The fast environment that we live sometimes doesn't allow that to happen.

"Humility" is simply that--a thoughtful and introspective ballad in which the group with a few surprising twist in melody but it maintains a touching vibe. The quartet turns moves from emotional to improvised and back again. But even the uninitiated would not feel the effects. This is a brilliant piece. "The Return" sets this long journey straight. We the passengers have travel a great distance in both body and spirit. This piece helps bring everything back to a constant but with a new outlook. There's an all-around more emotional connection one will find on The Drop And The Ocean that the previous albums only alluded to. This Garcia's best record to date.

Usually when a jazz artist works within the eastern philosophy or spiritual aesthetics they tend to lean heavily on the latter work of Coltrane. Rob Garcia doesn't do that. His spirituality/philosophical thoughts may lay in the same camp but he is working in a completely different direction. His compositions and playing are both compelling and inspiring. Garcia is quickly and quietly turning into a unique voice within the jazz scene.

Jason Stein: The Story This Time

2011-11-26T00:00:00.000-05:00

Jason Stein (clarinet)

The Story This Time (Delmark; 2011)

Keefe Jackson (sax)

Joshua Abrams (bass)

Frank Rosaly (drums)

I know Jason Stein's work more through the projects he has been a member of than his solo material. He has worked with Ken Vnadermark, Rob Mazurek and Keefe Jackson to name a few. His main instrument is bass clarinet. Stein has a style that is big and with an ability to move up and down the scale with ease, he creates a joyful and adventurous atmosphere with each recording.

Stein is quickly becoming an in-demand member as well as confident leader in the Chicago scene since landing there just under half a decade ago. Stein plays rare instrument in genre, but it is coming back in fashion thanks to strong creative performances and releases like his latest, The Story This Time (Delmark).

From the opening, "Background Music" (written by Warne Marsh), you can hear that Stein is out to change things. His tone and the nature of piece has a pile-driver force to it. Almost making it unrecognizable to the original Warne Marsh/Lee Konitz piece. The quartet display a sense of urgency all the while deploying some intricate improvising.

"Little Big Horse" is killer. Stein's seems to have learned a bit from his time with Vandermark about chord changes, timing and orchestration within his own group. There's a Dolphy-esque quality to the performance but you can hear the group bristling with life as the piece moves forward.

"Badlands" has an enveloping quality to it. Abrams bassline capture you at the gut just before then Jackson and Stein come crashing in like theme from Route 66 (U.S. early '60s TV show). Frank Rosaly's timing is to perfection with free-wheeling exchanges with both Jackson and Stein. Stein soon takes over the piece with a number spontaneous jump cuts and fluctuating patterns. It's all really amazing to hear and commands your full attention.

"Hoke's Dream" is definitely the more experimental piece on the album. The composition lays squarely on Stein as he improvises through a number a changes while Rosaly adds unabashed clings and clangs for full effect. Abrams and Jackson join in towards the end to provide colour and tone but this is clearly a lead into free form that works perfectly in the Monk composition "Work." "Work" I think is a re-imagining of "Nice Work If You Can Get It" and feels completely pulled apart and reassembled into a dark free formed nightmare. I loved it!

The Story This Time is another bullet out of the Chicago scene that must be heard by a wider audience. Jason Stein has proven in just a short amount of time that scene and all of its many musicians have a lot to contribute. And each has their own voice that is distinct and bursting with ideas. The Story This Time is brilliant and invigorating.

Thom Gossage: In Other Words

2011-11-24T10:45:00.001-05:00

Thom Gossage (drums)

In Other Words (Songlines Recordings; 2011)

Frank Lozano (sax)

Remi Bolduc (sax)

Steve Raegele (guitar)

Miles Perkin (bass)

I really didn't know of Thom Gossage until I received this CD a few weeks ago. But I have to say, from the moment I heard the opening chords I was pretty hooked.

Gossage, a Montreal native, has been on the scene for over a decade. He has managed to balance his improvising aesthetics in both the areas of music and dance. While working in close association with free form dance ensembles he also takes that experimental edge into his musical collaborations. In Other Words is his 5th release with his ensemble, Other Voices. Encompassing a quartet that he has worked with in various forms over the last few years, In Other Words is a really engaging work from a drummer with many hats and thoughts.

The music on In Other Words originated out Gossage's work with the arts (specifically choreographer Isabelle Van Grimede) instead of music. Therefore this album becomes a real travelogue of ideas.

Opening with the title track, that has an investigative and almost avant garde country twang, Gossage let's the listener know this will not be your ordinary journey into improvised music. "In Other Words" revolves around multiple themes and competing chord changes, all making for an intense but highly enjoyable listen. Gossage has a style that reminds me of Andrew Cyrille or Gerry Hemingway, in the manner which he can switch from complex to simply calming structures without breaks.

The contribution of each member in Other Voices cannot be understated. Steve Raegele's work is on par with that of Marc Ribot. Both Remi Bolduc and Frank Lozano contribute stellar, visceral performances as evident on "Counter Counter Clockwise"--a virtual rollercoaster of alliteration. "Counter Counter Clockwise" encompasses all the aforementioned thoughts of Gossage's composing ability. The rollercoaster switches to a gentle tone poem with sax, electronics and drums creating a haunting but beautiful soundtrack.

"Your Number(S)" is one of my favourite pieces. For me there is a sense of play hidden inside the improvisational aspects on display here. Miles Perkins has a rich but minimal quality that you gravitate to throughout the entirety of In Other Words, but here somehow I was drawn to what was going on just underneath the explorations by rest of group. Perkins reminds me of Drew Gress, who also creates a whole different universe outside of his bandmates that pulls you in but keeps you within the context of the original piece (Drew Gress has also performed with Thom's group). The closing moments of the piece are left to Raegele and Gossage to experiment and work of each other.

Staying with the "arts" theme, the album closes with appropriately with an actually poem, "Tom Arthurs Dinner", with vocals from critically acclaimed British trumpeter, Tom Arthurs. Arthurs vocals are balanced by a heavy tone of dark atmospherics that give the piece a kind demented, tormented beat-generation quality.

In Other Words is a deep, thoughtful and complex mixture of structures from both theater and improvised music. While both have a lot in common it is quite often difficult for many musicians to meld the two together into a work that is cohesive and tangible. Thom Gossage has done that perfectly. This session feels like a chamber ensemble that decided to throw away the notes and perform from the heart not the page. This is a journey that is emotionally effective on your stereo as it would on the stage. A real pleasure of a discovery.

Jon Crowley

2011-11-21T07:45:00.002-05:00

Jon Crowley (trumpet)

I really stumbled onto Jon Crowley through a search on the web for new music. I was looking for new trumpeters to check out in New York city and his name kept popping up. So I listened to a couple of tracks I found online, watched a couple of videos and was really captured by the quality and personality of his performances.

A young trumpeter who has already cut his chops up and down the Northeast and Mid-East corridor with gigs from Philly, NYC to Boston. There are a series of live recordings that document his growth on his site but you really should take a good listen to his most recent records that really give you a more in-depth picture.

Crowley's first effort, Connections (Lonely Crow Records; 2009) is a bright young artist with an articulate voice and vision showing that he is more than just a trumpet player but also a gifted composer. The blistering nature of the title track has shades of Freddie Hubbard with a growing inner beauty that could reflect later-period Chet Baker.

Crowley's confidence in his band shines through as he allows the group to dominate and challenge each other for a good portion of the latter half of the piece. The duel between Yayoi Ikawa (piano) and Peter Schwebs (bass) is an intense listen but probably even better to watch live.

"Momentum" does pull things back a little with Crowley coming to fore. Crowley has a strong tone and sensuality that fills the space with passion and a heavy heart. Ikawa adds a well constructed post bop map for the rest of the quintet to follow. This sound is very New York. A confident quintet delivering a sense of excitement and adventure in a tradition reminiscent of early One For All.

"Tabula Rasa" while inhabiting a Middle Eastern to Sub-Asian feel, doesn't get caught inside the usual traps of American musicians trying to create an Eastern atmospheric piece. Crowley has arranged a lot of room for his band mates to improvise and experiment. Nick Anderson (drums), Beatty and Schwebs really are the highlights here with delicate notes that become more detailed as the piece carries onward.

"Right Now" is probably the one piece that comes the closest to being study in hard bop. The performances are crisp, hard driving and affective. Connections is more downplayed with emotional movements, "Icarus" and "City Mood," demonstrates Crowley as a romantic with serious thematic ideas. Similar to larger scale moments presented by Terence Blanchard, Crowley appears to be eyeing larger but also insular concepts.

That grandness would become fully apparent on his second album, the recently released, At The Edge (Lonely Crow Records; 2011). Crowley circles himself with an entirely new quintet that is just as exciting as the one on his debut. They are challenging but also more exploratory. This is mainly due to the advancement of Crowley's experiences and writing.

Opening with the brief, Philip Glass tonality of "In Real Life" which quickly shifts to Hancock-Headhunters era fusion with "Find Me", you can hear Crowley has grown and is looking beyond just the notes on the page. "Find Me" is soulful, funky, experimental and still bouncing with 21st Century originality. The addition of Ziv Ravitz on drums adds a harder edge and muscle to the session. Julian Pollack's performance on both fender and piano are creative and moving in the same way fellow New York pianist, Bobby Avey has quickly risen within the local jazz scene.

"Sadness, Suffering, Hope, Triumph" is filled with deep melodic passages but those movements are not on the dark side. On the contrary, it is more like celebration in mellow tones. Crowley, Jeremy Udden (sax) and Pollack produce some lovely, complex themes and colours allowing this piece to beam with a sense of bright introspection.

"Shine" is my favourite track on At The Edge. It hearkens to the more contemporary pieces by Dave Douglas. It's peaceful passages are bold and romantic. There's a real lush sense of closure in the piece. It holds the listener's attention and really brings you into the fold of the album's main theme--what happens once you are at the edge?

The session closes with "These Four Walls," a ballad that beautifully encapsulates the maturity of Crowley's writing; the forward thinking sensibility that an artist can move back and forth through both fusion and hard bop in one session while still sounding original and moving with every note.

At The Edge is a more intense adventure but shows a huge leap in compositional excellence from Jon Crowley. He is a voice that is worth your discovery now rather than later. Connections and At The Edge are documents of a great leader and composer in the making. Highly Recommended.

The Necks: Mindset

2011-11-18T09:00:00.001-05:00

The Necks (group)

Mindset (ReR; 2011)

Chris Abrahams (piano)

Lloyd Swanton (bass)

Tony Buck (drums)

The Necks have been on the rise the last few years. The recent global tours and wider availability of their music has helped spread the news of one of the worlds best kept secrets. The trio have a very specific and unique blend of minimalism and improvisation that rises above both jazz and experimental music.

Sometimes hard to describe to friends, I try to get them to imagine, Cecil Taylor, Philip Glass, Charlie Haden and Billy Higgins locked in room to see what would evolve. Sometimes you can bring up the E.S.T. comparison but I have started to feel that the Swedish legends were actually only starting to reach the abstract heights The Necks have been creating for decades.

Built on two extended pieces, the new album, Mindset (ReR), continues their original aesthetic of slow building, highly intense, introspective pieces. But this time out there is more purpose and a heavy drive, with melodic and emotional moments that you can grab onto at various periods. The pieces settles into polar opposites - one of intense wrestle of spirit and body, the second an almost minimalist psychedelic journey through Stephen King's closet.

"Rum Jungle" opens with a long, deep enveloping melody of all instruments at once. It's a wash of sound that become hypnotic and beautiful. Two thirds of the way through the trio turn on the atmospherics. Each instrument no longer sounds like what you think. "Rum Jungle" then rises to clattering conclusion. Like dropping off a cliff.

One of signatures to The Necks music--their ability to manipulate and create soundscapes that you thought weren't possible on these instruments. That becomes apparent on "Daylights." A piece which feels more like nighttime that morning lights. A gentle but encompassing number by which the listener is drawn in Eno or Aphex Twin-esque movements and free form crackles, plucking and other improvised expressions. "Daylights" seems to sit on top of a one note theme laid out beautifully midway through by Abrahmas. Later it does hit a sort of high gear towards the end before freezing to a close.

Mindset is surprisingly one of the shorter Necks albums in history but it still has all the elements of adventure and improvisation that make this trio one of the best forward thinking groups on scene today. Highly Recommended.

Curtis Mayfield: Super Fly (Original Soundtrack)

2011-11-16T00:01:00.002-05:00

Curtis Mayfield
Super Fly (Curtom Records, 1972)
Arrangements and orchestrations: Johnny Pate

We've been listening to a lot of soul/funk records in recent weeks and one of those albums is the classic that has become a benchmark for both soul as well as soundtracks--Super Fly.

For Gordon Parks' legendary crime movie, Super Fly, Curtis Mayfield of the quintessential Chicago R&B band, the Impressions, recorded the greatest blaxploitation soundtrack ever — and certainly one of the best song-driven scores, period.

The film was a smash hit, but it may not have had such a substantial impact without Mayfield’s soulfully stirring funk score, released on his own Curtom Records. The album's sales outgrossed the movie's box office and launched two hit singles, "Freddie's Dead" (#2 R&B, #4 Pop) and "Super Fly" (#5 R&B, #8 Pop).

Already well known for his socially observant songwriting, Mayfield elevated Super Fly by providing songs that comment on the film’s story. Songs like “Little Child Runnin’ Wild,” “Pusherman” and “Freddie’s Dead” hit hard lyrically and with a melodic groove that never fails to hold one’s attention. Mayfield composed and performed on several other blaxploitation scores, but none measure up to his masterpiece.

Mayfield's not-so-secret weapon on Super Fly was Johnny Pate, another Chicago R&B legend, whose crack arrangements and orchestration give Mayfield's songs a healthy dose of gravitas. Pate went on to score some badass soundtracks as well, including one of the best of the blaxploitation genre, Shaft in Africa... but that's a story for next time.

Dave Brubeck: Their Last Time Out

2011-11-14T08:15:00.001-05:00

Dave Brubeck (piano)

Their Last Time Out (Columbia/Legacy; 2011)

Paul Desmond (sax)

Joe Morello (drums)

Eugene Wright (bass)

I seem to not write about the great Dave Brubeck enough. While other contemporaries have made waves on the piano or organ (Monk, Hancock, Smith or Young), Brubeck quietly grew in stature and popularity through consistent compositions and performances both on record and live.

His major quartet consists of Desmond, Morello and Wright--the group recording the jazz classic/benchmark, Time Out (Columbia; 1959). The quartet began recording together over a decade ago.

On December 26, 1667, the quartet would perform their very last concert together in Pittsburgh, PA (USA) and now the music is entitled Their Last Time Out. Brubeck had mentioned a few months earlier that he wanted to retire (that would later never happen). While there are a number of Brubeck concerts (a majority of them official releases), the obvious significance here is both "last" and Brubeck's greatest quartet.

This was a night where Brubeck and the group just let loose and kept swinging. Opening with the heavy-hitting "St. Louis Blues," led more by Morello's pounding beat, Desmond engrossed chords and Wright's infectious plucking, the piece will undoubtedly have in tapping your feet or getting you out of your seat to dance. "Take The "A" Train," one of Brubeck's favourite tunes has an even more poignant purpose on this evening. Each member is in smokin' form. Morello and Brubeck share some delightful and hard driving exchanges. It's wonderful to see the group having so much fun even as they know its their last gig together.

"You Go To My Head" displays all the bluesy romantic quality. Brubeck and Desmond are monstrous in a gentle way. Desmond's solo midway through is lush and emotional. This draws a stirring applause from the lucky audience. Brubeck's timing and performance is exceptional here. He notes a touching and radiant. "Set My People Free" written by Wright as a protest song to political and civil situation of the times, is powerful yet still maintain the traditional essence of the group. Brubeck and Wright swing in a gospel that fashion that will definitely have you saying amen!

And of course, the evening couldn't end without what had already become a classic standard in jazz history--"Time Out." Here though you get a lot improvising from Desmond and Morello along with a few extended solos. It's one of the stronger performances of the piece I have heard on a live recording. It's a ferocious version that even takes in a few Indian-theme chords by Desmond. Brubeck does his own bit of improvising toward the end of the piece. And the rest of group begin to follow until its raucous full-stop.

Their Last Time Out is magnificent and significant piece of history that must be heard by an jazz fan. It shows a great quartet swinging and improvising at the height of its powers but leaving us all wanting more...

Aram Shelton & Kjell Nordeson: Incline

2011-11-11T08:00:00.001-05:00

Aram Shelton (sax)

Kjell Nordeson (drums)

Incline (Singlespeed Music; 2011)

Aram Shelton has been one of my favourite discoveries over the last few years. There's a forcefulness and deep intuitiveness to his performances that has always amazed me.

Kejell Nordeson is a terrific and inventive drummer whom I have followed since his days with Swedish outfit Aaly Trio (due to their recordings with Ken Vandermark).

It's no really surprise that these two creative forces finally found each other with their group Cylinder. The two minds are on a very distinct and similar wavelength.

While Cylinder is an improv masterclass, the duo's project, Incline (Singlespeed Music) is more a free-thinking sprawling yet very honed study of personal interplay. "Village" is an incredible opening track. A torrent of sound on par with David S. Ware/Andrew Cyrille. The piece builds rapidly as the two scream back and forth with notes that peel the skin from your eardrum. Fun, eh?!?

"Orbit" is more a solo outing for Nordeson as he picks, clangs, taps and pounds notes from the ether. Beautiful and investigating, it all flows nicely into "Test", a melodic piece that is percussive and emotional. Led by heavy, deep undertones from Shelton and Nordeson create a blossoming atmosphere that fills the space yet is completely free of structure.

"Rig" sees Shelton in the solo role. Here stretching and constructing notes paint a slow moving Jackson Pollack-esque picture. The piece is short but moves nicely into "Soles," a mountain of a piece that rips the top off of everything. Shelton and Nordeson seems to be in a completely higher plane. The piece gets louder and louder with the two seemingly melding into one until a gentle all-halt.

Incline is an album of multi-layered complexity. The unity between the Nordeson and Shelton is very apparent through each note. This is the duo that was long in the making but we are better off for it. Incline is another keen masterpiece in the history of both Aram Shelton and Kjell Nordeson.

This video features Cylinder but gives a great insight into the two musicians unique talents as well as a fascinating look at their quartet.

Kevin Brow: Dolls & Guns

2011-11-08T09:00:00.003-05:00

Kevin Brow (drums)

Dolls & Guns (Blackout Music; 2011)

Kevin Brow has created two fantastic albums in the last three years with his band Koptor. On his third outing (under his own name), Brow explores improvisations far reaching possibilities with illuminating success.

Dolls & Guns (Blackout Music) is enlightening mixture of classical and jazz chamber pieces between Brow and a 13 well chosen musicians (either instrumentalists and vocalists). You might expect there to varying degrees of success on each piece but I have to tell you, you couldn't be more wrong in that thinking.

"Sometimes My Thoughts Sounds Like This" rolls and pounds out as a dueling tribal match between Brow and fellow drummer, Dan Weiss. The piece while short is really more an introduction to the diversity of the Dolls & Guns.

"Light Years" expands this rising crest of sound with Brow in the opening movements and then passing gently on to Jacob Anderskov's exquisitely soft, almost motionless piano. The space the artists leave between is earthy and haunting. Brow returns in the end with a fierce cause and effect statement as both musicians head to a fade out.

"Brain Washing" is probably more in line with some may know from Brow's previous associations. The counterpoint battle between the great Tim Berne and Kevin Brow here is beautiful and their improvising somehow welds itself into harmonic structure.

One of my favourite discoveries on the vocal side this year was that of Sissel Vera Pettersen (from Equilibrium). Her work her with Brow on two tracks "An Ancient Sport" "Elegant Strut" and are both delightful, pleasing and calm. Brow allows the Pettersen's voice and vocal manipulations to be the main focus of the piece while he adds a commanding beat in background or gentle taps and brushes around the outside of lyrics.

Longtime collaborator, Mikkel Ploug also participates with "Tnf Alpha vs Remicade". Both musicians and a bit of mysticism here that straddles both improvisation and indie-rock. An instrumental that Tortoise would be proud of.

Brow closes out the albums on an interesting note with "Green Tea." A solo piece. But not the soloist you'd expect. Here Brow has chosen Jacob Sacks (piano) to carry this extraordinary session out on a subtle and touching note. It's beautiful and it also show the breath and support Brow has given to his partners on this record. It is not just a Kevin Brow solo project--its ever one's project.

Dolls & Guns is a magnificent work that is not only a study of a musician and composer that is growing in stature. It is a document of leadership and creativity among individuals. Wonderful and moving stuff.

1982 Trio

2011-11-05T03:00:00.004-04:00

1982 Trio (group)

Nils Okland (fiddle, violin)

Oyvind Sharbo (drums)

Sigbjorn Apeland (Harmonium, Wurlitzer)

Different, distinctive and always captivating. 1982 is a trio that evolved out of three already highly acclaimed Norwegian musicians, Nils Okland, Oyvind Sharbo and Sigbjorn Apeland.

They have been on the improvisational scene for decades and have recorded a number release with each other in duo settings or with other musicians. Only four years ago did they finally band together to record as a trio.

The group's music is a combination of Norwegian folk, improvisation and atmospherics. There are elements of classical chamber music, third stream jazz and organic ethnicity that abounds throughout their work. The trio demands the listener's focus is squarely on the music, hence there are no song titles to allow you to conjure up preconceived notions of the songs origins or meanings.

1982's self titled debut, 1982 (Norcd; 2008), is a work of found ideas and movements that travels slowly but leaves indelible marks along the way. "6:42" rolls out brightly with Sharbo and Apeland practically spray-painting new colours and shapes around your ear. It's all in gentle tones that eventually moves into levitation, lead by Apeland and Okland with Sharbo improvising in and out of the piece.

"4:39" hangs heavy and infectious. Apeland's playing is like more forceful Eno circa Thursday Afternoon or Neroli. Sharbo and Okland intersect quietly on the piece but their minimalist contribution adds an addition mysticism to the piece. The epic "17:39" produces by a Cage-ian and Emerson Quartet quality. It's minimal yet full of life and spirit. You have to let your ear settle into stoic melodic melody before being full engulfed. A wonderful and forward thinking debut.

It wouldn't be until 2011 that 1982 would return to these fertile grounds (after a series of other projects) with Pintura (Hubro Music; 2011). "10:38" explores similar folkish territory but with more depth and richer structure than before. Okland's violin sound inspired and swirls with creative movement. Sharbo delivers a number of lovely touches, strokes and clangs that while improvised are vibrant intersections to the piece.

"6:02" feels like a suite with all the appropriate tempos (allegro, andante, adagio). They are subtle but for me they are there. Distinct and well balanced, the harmonics elevate and carry you in a joyous manner.

"3:19" and "3:52" both sheds a different light on the trio. They are heavy pieces, "3:19" even having a bit of a backbeat thanks to Sharbo's pulsating kit. Apeland and Okland explore and extend some wonderful exchanges that have a touchingly Nordic while still providing an open adventure for the listener. "3:52" closes quietly but unexpectedly for me. I think it will leave you hanging on wanting more as well.

I have been absorbed with these two records just as I have been with Equilibrium who may be on a similar path as 1982. 1982 are a completely different trio. While working in the same sphere as other European musicians; they are balancing classic traditions and improvised themes to a perfect end.

This is beautiful work from a trio that may get together only occasionally, but every opportunity is worth the time for you to listen. Ranking as one of my favourite albums this year. Highly Recommended.

Fred Lonberg-Holm & Piotr Melech: Coarse Day

2011-11-02T08:00:00.026-04:00

Fred Lonberg-Holm (cello)
Piotr Melech (clarinet)

Coarse Day (Multikulti; 2011)

Avant garde duos are pretty prevalent at the moment, no matter what the instrument(s). But what makes the best ones stand out is the quality of the musicianship and the depth of the material.

As with my earlier discussion on the Daniel Levin/Tim Daisy release, The Flower and The Bear, Fred Lonberg-Holm and Piotr Melech have created a richly diverse and highly challenging document that is both absorbing and thought provoking.

Lonberg-Holm, a member of various outfits in Chicago (most notably The Vandermark 5) and Melech, a growing presence of the Polish avant garde scene (including his trio Enterout) together, explore a strange world of soundscapes on Coarse Day. It's a densely packed session with movements that are multi-layered and demanding of the listener's concentration.

"Cloudburst" is pops and crackles with a sense of adventure. Lonberg-Holm maneuvers up and down the scales like a cat stuck in an aqueduct. Melech's clarinet(s) create an echo chamber that is both haunting and exhilarating. "Tangle Of Loops" feels almost anti-avant garde. I felt Longberg-Holm and Melech have a number of exchanges that are humorous and well improvised. My mind drifted into a jovial exploration into Raymond Scott (although I'm certain that was not the composers intentions). The use of electronics and sound manipulation on "Tangle Of Loops" gives the piece a schizophrenic edge that is genuinely exciting.

"Mildew Gourmets" moves out melodically in a somber spiritual pattern, similar to Coltrane's "A Love Supreme." It's hypnotic and relaxing tone is a calming departure point for the session and provides further insight into the duo's composition talents.

Coarse Day while challenging, is an album that once it sinks in--will become a fixture on your stereo. Lonberg-Holm and Melech have created an album that is filled with improvisation but also subtle accessibility that deserves intense listening. Haunting, beautiful and emotional.

Ted Rosenthal: Out Of This World

2011-10-31T08:00:00.031-04:00

Ted Rosenthal (piano)

Out Of This World (Playscape Recordings)

Noriko Ueda (bass)

Quincy Davis (drums)

It is difficult to judge a standards album sometimes. Many argue, "why repeat perfection?" Or "that version doesn't sound as good as the original?" Well, those are obviously the wrong/thick-headed way of thinking about standards material done by new artists, especially over the last 20 years. But similar to David Berkman's NY Standards Quartet releases, pianist Ted Rosenthal has done a wonderful job re-imagining ten standards in his own vision.

Throughout his entire career, Rosenthal has been able to travel between various settings and arrangements. Whether it's with legends like Gerry Mulligan or Benny Golson, or with his trio through classical compositions on his last record, Impromptu, he turns the pieces into his own and add a new vitality to them that is intoxicating and engaging.

On The Rosenthal Trio's newest release, Out Of This World, Rosenthal continues with his previous trio lineup which balances a tight and well-woven relationship with the timeless history they are re-interpreting. Opening with the title track written by Mercer & Arlen, Rosenthal and Co. sound fresh and pepper the piece with colourful shades of happiness. Ueda's bass is pounding with bright tones like the sound of a good Ray Brown beat. Cole Porter's "So In Love" swings with a happy beat and Ueda and Rosenthal have a comfortable banter that make it a festive listen.

"Embraceable You" stays relatively intact with Gershwin's arrangement, but here Rosenthal and Davis add a feather like touch that lets you close your eyes and slowly drift away with the notes. "Cry Me a River" while exuberant, has a humble and blues-like manner that is delicious to the ear. Rosenthal delivers a mixture of Cedar Walton, Ahmad Jamal and Thelonious Monk all the while shining with his own voice and texture.

Out Of This World has all the designs of a beautiful club date - Vibrant, exciting and bouncing with energy that really gets a crowd hoppin'. But what makes this studio session so remarkable is the creative manner in which Rosenthal, Davis and Ueda work with such sweet unison that the tunes have urgency and new life. This is a real sleeper of a record that would really benefit any one's record collection.

Sunna Gunnlaugs: Long Pair Bond

2011-10-29T12:30:00.023-04:00

Sunna Gunnlaugs (piano)

Long Pair Bond (self produced; 2011)

Scott McLemore (drums)

Thorgrimur Jonsson (bass)

I discovered Sunna Gunnlaugs only earlier this year, but since then I have consumed alot of her music and have been truly captivated. Her style is intimate and her use of space is exciting and has you hanging on every note.

Sunna Gunnlaugs is an independent artist who has created her own path with seven unbelievable albums that go from strength to strength. I loved her last album The Dream (in fact I raved about it). But I think her new album, Long Pair Bond is phenomenal! An even more intimate and introspective album than its predecessor, Gunnlaugs continues to elevate as a composer and a musician.

The trio setting demands more of the listener. It's an opportunity to absorb the emotion of the session and feel the movement of each instrument. "Long Pair Bond" sets sail with a lovely tone. Gunnlaug's playing carries you along slowly and gently down a rugged stream. Jonsson's bass fills the room but never overpowers the notes. McLemore adds poignant timing that gives a "Long Pair Bond" an additional punch towards its conclusion. On "Thema" Gunnlaugs and Jonsson's mixture of Latin and classical merged into a solemn progression that somehow is still quietly uplifting.

"Crab Cannon," a piece originally performed by the same trio a year ago, sounds more invigorating here in the studio. The production is obviously more crisp than its live sister version but Gunnlaugs obviously performed this piece on a number of occasions so this version delivers more impact through experience. McLemore's drummer jumps out with freedom and spirit that should really get any listener excited. "Fyrir Byrnhildi", a richly driven piece buoyed by Jonsson and Gunnlaugs, is warm and inviting. A delicately crafted number with almost gospel touches that has quietly become my personal favourite on Long Pair Bond.

"Vicious World" closes the album beautifully, with the focus squarely on Gunnlaugs. McLemore and Jonsson add light swatches of colour to the outside but momentum lays within the vibrant and inspirational performance of Gunnlaugs. This is an intimate piece that would probably bring the house down in a large recital hall.

In the independent spirit of the 21st Century, Sunna Gunnlaugs has taken the exciting and adventurous journey into the fan-supported release world (a grass-roots version of venture capital). Utilizing the organization of Kickstarter we can all support the physical production of Long Pair Bond with a small donation to the creation of the album. There are a number of different levels of support that we can contribute. Each with the right and appropriate reward for you.

This is a great opportunity for artists and fans to be a part of something special. If you are a fan of Sunna. A fan of jazz. A fan of exemplary jazz. Then this is an opportunity for us all to put our collective spirit and force together for the good of great music.

Join Sunna Gunnlaugs and enjoy a truly phenomenal album--Long Pair Bond.

Side A: A New Margin

2011-10-26T00:00:00.005-04:00

Side A (group)

A New Margin (Clean Feed; 2011)

Ken Vandermark (sax; clarinet)

Havard Wiik (piano)

Chad Taylor (drums)

A Ken Vandermark record is always a welcomed addition in the JazzWrap office. And Vandermark's newest project, Side A is a massive inclusion to the catalog.

The trio formed last year but somehow it feels like they've played together for much longer; Vandermark and Wiik have been together in various projects (Vandermark 5, Atomic/School Days, and Free Fall). A New Margin (Clean Feed), the trio's debut, is a document of their collaborative efforts over the last year.

Side A kicks the proceedings off with the slow moving and haunting "Boxer." It's like a mystery ride that never seems to end and you're constantly turned on to some new element in the piece. Whether it's the plodding downward keys of Wiik, the sky-rocketing velocity of Vandermark on sax, or Taylor's free-wheeling movement on the kit--this is a journey that's going to take many different shapes before its done.

"Arborizaltion" flows peacefully with each member improvising in between the space. It's not wild movements; more a steady pattern of ideas that all fold together in one harmonic gesture.

When "The Kreuzberg Variations" first came on I was startled by the spacial depth of the piece. It's a classical movement as the title would suggest but with more owed to the Steve Reich motif than Brandenberg. The piece builds and builds until its boisterous conclusion where musician and sound collide in what is quite a beautiful noise.

"Giacometti" is a blustery but euphoric number that sees the trio bouncing sound off each other. Taylor adds a delicate touch in the beginning, while Vandermark and Wiik create some vivid colour spectrums. This comes to a rousing denouement that nicely bookends the possession filled opening of the "Boxer."

Side A is yet another in long list of progressive outings from Ken Vandermark and company that challenges the way we think of jazz and how it will expand. A New Margin is by far one Vandermark's best projects (outside of Vandermark 5) of the last 12 months. Great stuff.

Anne Mette Iversen: Milo Songs

2011-10-24T00:00:00.027-04:00

Anne Mette Iversen (bass)

Milo Songs (Brooklyn Jazz Underground; 2011)

Otis Brown III (drums)

John Ellis (sax)

Danny Grissett (piano)
(photo: Courtney Winston)

With a background in classical you would expect the compositions of the Danish born bassist turned Brooklynite, Anne Mette Iversen, to be more subdued and wrapped in more chamber tones. Well, you do get that but you also get a whole lot more to study. With skill and theories that personal and complex, Iversen is slowly rising above that "best-kept secret" theme. She will be one of the stars of the new generation of composers over the next decade.

With three stellar albums already under her belt and a quartet that has remained intact for well over five years, Iversen has a certain vocabulary and mediation with this group that is unique among even the longest running quartets/ensembles. This closeness allows the musicians to move freely within Iverson's compositions. And Iversen has grown as a composer as well as a bassist. Not to mention the founder of the quickly rising and important label Brooklyn Jazz Underground.

With her latest album, Milo Songs, Iversen shows a deeper understanding of the human conscience as well as uncanny way of crafting tunes from a child's eye (meaning her own). Milo Songs was born out of a number of musical ideas brought out through her children. The music moves and grows like one's life. There are uptempo movements and exquisite somber moments all with calculated effectiveness.

Milo Songs opens gently with "The Terrace," a piece that slowly builds on the dexterity of Grissett and Ellis. Iversen settles in the background adding nice tonality and steady space to the rolling patterns her bandmates have created with her composition. It's a lovely piece that is playful and engrossing.

Iversen has a style that reminds me of both the calm pace of Jimmy Garrison and jubilant nature of Paul Chambers. This is on display throughout Milo Songs but on tracks like "The Storm" and "Milo's Brother" you get a sense of both. "The Storm" unfolds rotating conversation between Ellis and Grissett before Brown and Iversen join in on the build up. The piece soon takes off and each member makes a creative impact on the piece. It's weirdly soft but fierce at the same time. "Milo's Brother" employs a softer tone that Chambers could effortlessly switch on and off. This is a caring piece that both holds the attention of its audience but give you moments to think about the session as a whole and the point at Milo is at (or even yourself) in relation to life and family.

"Cortot's Wheel" ends Milo's journey on a sweet but touching note. A number of passages on "Cortot's Wheel" allows the group to stretch and speak in a tone that connects to the listener more personally than most other compositions you might hear all year.

Anne Mette Iversen is no longer and an up and coming bassist/composer, she is part of the next standard in jazz. And everyone needs to know about her. Her ability to combine modern themes and classic structures into something that reaches on a deeply personally level with each record is rare among composers in recent years. Milo Songs is a definite must listen for everyone.

Miles Davis: Tutu

2011-10-20T00:30:00.001-04:00

Miles Davis (trumpet)

Tutu Deluxe Edition (Warner; 2011)

Well, its been a very busy year on the Miles Davis estate front. There have been a slew of official and unofficial releases. All surprisingly with good merit. The latest, a deluxe edition of the the 1986 album, Tutu.

Originally both loved and derided by fans and critics alike, it has somehow stood the test of time. It's not a terrific album by any means but it does show Miles continuing to play with funky/snyth rhythms of the early '80s and trying to carve out a new voice.

On Tutu, his trumpet sounds inspired even while it lacks a little bit of the strength that even the last few Columbia records possessed. The production was crisp and musicianship also pretty sharp (for the '80s). The album marked one of the few moments when Miles would make subtle political statements, hence the tilted, named after Bishop Desmond Tutu. Miles didn't really speak about the political message he was trying to convey; instead keeping the focus on the music. He had only discussed it a few times in interviews.

The album opens with the forceful impact of the blues funk title track. Miles has a soft tone that actually blends well with the synthesizers and thumping basslines provided by the soon to be long relationship with Marcus Miller. One of the best tracks from the session, "Portia" is a sweet ballad which Miles allows the band to move from freely. The drums and percussion provided by Paulinho da Costa are simplified here but complement Miller's Brazilian vibe that the piece captures. As with Miles' expanding venture into pop music, he includes a cover of British pop/alternative band Scritti Politti's "Perfect Way," which is startling (if you already know the original) but still quite affective in this funky jazz arrangement.

The snyth sound that Miles had absorbed on his last few Columbia albums blossoms under the influence of Marcus Miller here. While Tutu obviously doesn't stand up against anything Miles produced prior it is one of the last albums (with the addition of its follow up Amandla) that still retain a rich source of quality instrumentation and organization.

The deluxe edition of Tutu comes with a bonus CD of live material from the Nice Festival in 1986. This concert is more a stage for the band than it is Miles but its a solid performance nonetheless. A Chicago blues treatment is given to the classic "New Blues" that makes it feel fresh and lively. Roben Ford plays guitar in this octet and feels a lot more steady than John Scofield did a few years prior.

Bob Berg, always superb, standout throughout this evening of hot jazz-funk. His extended solo work on "Maze" is smokin', while Steve Thornton and Felton Crews provide a pounding backbeat on percussion and drums. "Splatch" features some heavy percussion and bass but is offset by Berg and Miles employing some beautiful harmonic work. This concert has some great sound quality and stands up better than the studio album. It's feels like a giant jam session.

The Tutu deluxe edition is well worth whatever you pay for it. An important document in the late and final period of Miles' career. You may feel it's dated from an ideas point of view but if you think about the jazz of that decade you start to realize Tutu was one of few treasured moments. Recommended.

Tomasz Licak/Artur Tuznik Quintet

2011-10-17T00:00:00.019-04:00

Tomasz Licak (sax) & Artur Tuznik (piano)

Quintet (Blackout Music; 2011)

Andreas Lang (bass)

Anders Mogensen (drums)

Tomasz Dabrowski (trumpet)

A wonderful discovery for me in the last few days has been a quintet session from Tomasz Licak and Artur Tuznik. This fairly new (in terms of lineup) Polish/Danish quintet are young but possess the great energy and punch of their influences. The group combine a sensual style of contemporary modern with well crafted improvisation. Their latest release, simply titled, Quintet feels like mid-period Branford Marsalis or an adventurous One For All.

The group manage to sound well at home in the modern hard bop setting as they do when they let the rhythm fly. "Uwaga" comes pounding out of the speaker with vigour. Tuznik and Mogensen drive the beat with cinematic effect. Tuznik shapes the piece with somber relaxed movements intertwined with improvised changes. These are cut across boisterous chords from the horn section which make "Uwaga" a massive opening statement.

"Lightblub In Green" reminds me of the best moments of being in a jazz club and closing my eyes to the rhythm. Lang and Licak have a lovely exchange midway through that could resemble Jackie Mclean and Paul Chambers at their Blue Note best. The quintet quietly swing with verve and each member's contribution is heard crystal clear. The tone is lowered on the melodic and beautiful "Nardis" (also featured on their previous album as Last Call). It's a technical and introspective piece where Tuznik takes center stage and delivers a performance that slowly envelops you with very powerful emotions. Tearful.

While most of the material on Quintet has a contemporary atmosphere, "Hobbit" rips the cover off the box and the group conjure up a funky groove built inside patterns of free jazz. It may have the uninitiated shaking their heads and they will eventually be sucked into the groove. There are individual moments where band members create subtle colours and tones and then return to the fire free form of their original theme.

Quintet is a stellar addition to the brief catalog of Licak and Tuznik and they will definitely be one of the creative duos that we will be talking about in the next few years. I loved this record and think its a must for every music fan. And I'm not just talking jazz fans. This is the wonderful balance between contemporary and free jazz.

Orrin Evans: Freedom

2011-10-14T19:00:00.011-04:00

Orrin Evans (piano)

Freedom (Posi-Tone Records; 2011)

Byron Landham (drums)

Anwar Marshall (drums)

Larry Mckenna (sax)

Dwayne Burno (bass)

This has been a revealing or may even an extremely eye-opening year for me when it comes to Orrin Evans. I have always liked his music but never fully focused my attention on it in such detail as I have this year. With the release of Captain Black earlier this year, and a number of constructive arguments with fellow fans I have finally decided to pay attention. So when his latest release, Freedom, came out I have to say I was more eager to listen and I concentrated on every note. I also have to say it is all worth it.

Freedom is one of the tightest and most well focused sessions from Evans in years. It's a tribute to a few of his influences and members he has performed with in the past. This is essentially a trio record with McKenna adding some full-bodied and blues-like emotion to two tracks ("Gray's Ferry" and "Time After Time"). His playing feels like a young fearless Ben Webster. He packs a punch, especially on "Time After Time" in which Evans gives him rolling freedom throughout the opening few minutes before rising into the forefront with a potent dexterity that keeps the tune jumpin'. Both Burno and Landham (drums on this number), adds a lot of rich and fast paced texture to the number to really give it a timeless quality.

"One For Honour" rips along softly but with an uptempo theme. Evan's allows Burno and Marshall (drums) to lead the way. And they really craft this Charles Fambrough number into their own. Evans' performance is fierce, fluid and bright. "Oasis", written by Shirley Scott, contains an infectious rumba applied by Landham. Evans gives a steady hand to guide the melody. Burno pumps in some really nice patterns along the bassline.

While the album has its modern bebop sensibilities, Evans manages to round things off with calming effects on Herbie Hancock's "Just Enough." This soulful ballad pulls Evans in both classical (by technique) and jazz (by emotion and theme) directions and he gently guides the listener out from what has been a vibrant and fun journey.

Freedom is a strong statement and return to a small group format that helps Evans compositional skills shine as well as the talents of his band members. This year has really turned me around on the work of Orrin Evans and I hope everyone else too. Solid stuff indeed.

The first video is a great, interesting and fun look at the who, what and where of Evans' history.

Sebastien Bouhana: Tambour pas tant

2011-10-13T09:15:00.005-04:00

Sebastien Bouhana (drums)

Tambour pas tant (Insubordinations Netlabel; 2011)

The deconstruction of the music industry over the last decade has resulted in a lot unfortunately things. But one of the positive byproducts was the rise of many strong independent labels and artists releasing their own music on their own.

Labels such as Rune Grammofon, Clean Feed, Brooklyn Jazz Underground, Audio Tong among others, globally have reinvigorated the creative scene. One new label has also taken the independent spirit one step further--Insubordinations Netlabel.

Insubordinations feel more like an artists collective than a label. The artists issue albums both as available downloads and physical CDs. Many of the artists and their material is very forward thinking. One artist that has captured my attention this year has been French drummer/experimentalist, Sebastien Bouhana.

Sebastien Bouhana solo release, Tambour pas tant (Translation: Drum Not So Much) is a real treat and challenge for any listener. And drum not so much is a good description of how this project moves along. Built around atmospheric themes and improvised movements, Tambour past tant is a refreshing look at the soundscapes an artist can create with the drum. "Evoquee" sees Bouhana sounding like searing guitar or a buzzsaw than drummer. It's an adventurous and dense piece that moves rapidly but very concentrated focus.

"Une Vieille Connaissance" provides a host of colours, crackles, swirls and found sounds that are like slow broken down train moving through a tunnel. "Tres Nettement" rounds out the three lengthy pieces on this disc. Consisting of the same elements as the proceeding pieces it does develop a small beat and rhythmic pattern underneath the chaos. Bouhana works in a similar realm as Jim O'Rouke or Sonic Youth. He is helping the listener search for their own conclusion within the soundscape--and that's the best thing music can do for a listen.

Tambour pas tant may be a challenge for many but its one of those records that will have asking questions of yourself. It is intense and will have you concentrating on every aspect of Bouhana's movements. Challenge and refreshing.

Tim Hagans: The Moon Is Waiting

2011-10-10T09:00:00.000-04:00

Tim Hagans (trumpet)

The Moon Is Waiting (Palmetto Records; 2011)

Vic Juris (guitar)

Jukkis Uotila (drums, piano)

Rufus Reed (bass)

I have to admit I haven't listened to much of Tim Hagans' music in recent years. But I have always admired his ability to float and absorb different styles with each record. His Blue Note recordings from the late '90s (especially Animation Imagination) were early experiments of jazz and electronica that mostly European artists were exploring at the time. His latest, The Moon Is Waiting is a return of sorts, with less emphasis on electronics but still holding an expansion on his fusion ideals.

The opening three tracks were originally part of a dance ensemble performance but you would really never know that if you didn't read the liner notes. Hagans effectively has crafted three pieces that work perfectly on record as they do for the stage. This is a real sign of great compositional skill. The loose, funky rhythms of "Ornette's Waking Dream Of Woman" are powerful reminders of the best fusion material from Miles, McLaughlin and Zawinul. "First Jazz" is a beautiful number which Uotila and Juris sizzle. Their performs are measured but Hagans gives them a lot freedom within the piece. Hagans own perform is on fire when he breaks in midway. Uotila and Hagans then have a nice duet later in the piece that is killer. Both are flying with really intensity and depth.

"Boo" sees the quartet fusing a blues motif that Chicago and New Orleans would be proud of. Juris takes on a soulful and crying tone that is matched by the rest of the group. A rolling repetition in the chords allows you to sink into this number more than when it was originally recorded a few years back with a large ensemble. This time you get a deeper impact that is more heartfelt. "Things Happen In A Convertible" unfolds like a suite. It's midtempo throughout and each segment seems to highlight a different member. Romantic and endearing, "Things Happen In A Convertible" is a loving way to close out the experiments of the last hour. Great stuff.

While not having the chance to listening to Hagans music for quite a few years I was surprised how easy it was for me to fall back in love with his compositions and his playing. This just might be one of those under-the-radar records that you have must hear to believe. The Moon Is Waiting is wonderful.

Tonbruket: Dig It To The End

2011-10-08T12:30:00.001-04:00

Tonbruket (group)

Dig It To The End (ACT Music; 2011)

Dan Berglund (bass)

Johan Lindstrom (guitars)

Andereas Werliin (drums)

Martin Hederos (piano)

Riveting and re-imagining everything on both the jazz and rock front, Tonbruket return very quickly with their second record, Dig It To The End (ACT Music). And it is truly an outstanding second effort.

Former E.S.T. bassist, Dan Berglund's new group feels like a hybrid of the former and the chaos of King Crimson. But in contrast, Tonbruket manage to incorporate folkish grooves in between the fierce patterns they lay forward as a base of exploration.

Berglund appears to have let the dragons out on Dig It To The End. Mixing it up splendidly with the opening number, "Vinegar Heart," which soars from the pounding pace of the trio, Hederos, Berglund and Werliin and swamped by the frenzied chords of Lindstrom adds to the ethos that this not jazz--nor is it rock. This is a piece has multiple parts and moves in different sections all very quickly. Brilliant.

"Lilo" is a gentle number that feels like a lullaby. The effects of Lindstrom's pedal steel guitar and Werliin brushes provide an bit of the Americana genre to this piece. It's delightful and beautiful melody floats along and stays with you long after the piece is completed.

"Dig It To The End" features like horses pounding along a cobblestone street at night. It's a dark sinister piece that could slide nicely into a Nick Cave album. The crazy organ lines plied by Hederos are hilarious and haunting at the same time.

"Le Var" with it's Spanish tinge is twisted through an psychedelic lens that is both hypnotic and intriguing. Thematic and infectious with a two-step nature which folds nicely into the backbeat of "Trackpounder". "Trackpounder" shows the group in more of a rockin' mood and riffing freely. It's got all sorts of grooves that could be reminiscent of the best Spy Jazz themes of the '60s.

Dig It To The End feels a bit more diverse than the quartet's debut. With a expansive passages and themes that have a foothold in multiple genres. Tonbruket's mastery of this makes Dig It To The End highly enjoyable and adventurous at every turn.

Tonbruket is a group of various ideas and backgrounds and they have created a real standout in any musical genre this year. They will have you wondering whether this is jazz or rock or what. But then again...does it matter? Highly Recommended.

Kris Davis: Aeriol Piano

2011-10-05T01:00:00.001-04:00

Kris Davis (piano)

Aeriol Piano (Clean Feed; 2011)

Intimacy. That's what always strikes me about Kris Davis. The sense of intimacy.

Having been on the scene for only few short years, her visibility has grown in the last few years due to a string on releases as leader and with collaborators.

I mistakenly forgot to write about her last record Good Citizen (Fresh Sounds New Talent) as one of my albums of the year in 2010. But this year make no mistake, my two top records of years are set in stone. And I bet you can guess one of them right now, eh?!?

There is a peaceful quality to her latest release, the solo piano effort, Aeriol Piano (Clean Feed). "Saturn Return" unravels slowly with dark intentions crafted around a simply melody before moving to a more improvisational mood. It feels like an early John Cage piano work. It's complex yet gentle enough for the newest of listeners to grasp every endearing moment.

A slight reinterpretation of "Good Citizen" is intriguing to experience without the quartet from the last record. This time around it feels more climatic; with more cascading moments than the previous version may not have allowed you to hear.

"Beam The Eyes" travels methodically along a path of inversion that makes crackling and disturbing sparks of life towards its conclusion. This theme also carries through a short time later on both "Stone" and "The Last Time" with moments that parallel Keith Jarrett and even more multiform pieces by Morton Feldman. There's a serenity that is broken up with moments of fierce treatment to keyboard but with clear justification of theme. "Work For Water" closes out the album on a steady more classical trained tone. It's a soft wistful way to end a session that has interwoven so many challenging patterns.

For one to really enjoy and understand one of the best kept secrets in jazz, you have to experience Aeriol Piano for yourself. Kris Davis is one of a short handful of creative pianist on the scene today.

If you are looking for legacy of modern improvised piano since Keith Jarrett, and more recently Jason Moran--Kris Davis is it. More on Aeriol Piano towards the end of the year. But for now, I repeat what I said at the outset--Aeriol Piano is one of my two top albums of the year. HIGHLY RECOMMENDED!

Koptor: Fire Sink

2011-10-03T01:00:00.001-04:00

Koptor (group)

Fire Sink (Fresh Sound New Talent; 2011)

Kevin Brow (drums)

Lotte Anker (sax)

Jeppe Skoobakke (bass)

Jacob Anderskov (piano)

I have to first thank fellow blogger, Maciej at Polish Jazz for turning me on to the Canadian/Danish quartet, Koptor. The group is quietly under the radar but have created two highly original and intriguing releases. Both have been on repeat in my household for weeks.

The compositions stem from the creative mind of drummer, Kevin Brow, who continues to gain notoriety both within his group as well as guest musician on records from Mikkel Plough and Bob Brough. With Koptor, Brow and his fellow musicians create a great balance between modern contemporary themes and free improvised organics.

Moving between dense and slight upbeat patterns, "21 Maaneder" features some intense lines from Skoobakke and Brow. All this is encircled by the terrific and melodic tone taken by Anderskov and Anker. It's a piece full of texture and staggered movements. Ankers playing is heartwarming and in some moments playful.

There have been a few drummers this year that have impressed me with their compositional skills, and Brow is definitely one of them. "Intellectual Sex" is one of the great moments of Fire Sink. Revolving more around the Anderskov and Anker, Brow gives the group room to move quietly and improvise as need through this piece. Brow's performance is impressive because he layers his touches around the edges until the end where the group gives way to a very serious and enveloping solo that brings the group into an almost funky mood. Heated, powerful and inventive.

The group's European side comes to the fore on "Invisible Ikke." Anderskov plays the major role in the opening as he paints a lovely romantic picture for the listener. The majority of piece feels like a sonata but built on the freedom of movement. The rest of band join in to add to clear crisp constructive tones but the composition never leaves it peaceful origins.

"Fire Sink" has some great multi-layers. Anker really takes off on this piece. Her playing is forceful and improvising yet still inviting for the listener. At times you can sense a bit of Ornette or even Zorn floating through the notes. Brow, Skoobake and Anderskov play a perfect counterpoint Anker and manage to lay down a minimalistic groove if you can call it that.

Fire Sink is an impressive second effort from the four year old band Koptor. Koptor has quickly formed a group that is both richly creative and able to gravitate between improvised and straight ahead with ease. Fire Sink is excellent.

Levin & Daisy: The Flower & The Bear

2011-10-01T21:30:00.002-04:00

Daniel Levin (cello)

Tim Daisy (percussion)

The Flower And The Bear (Relay Records; 2011)

Finishing off my unexpected week of duo recordings, I thought I would mention a fantastic album I just picked up a few weeks ago from Daniel Levin and Tim Daisy entitled The Flower And The Bear.

Levin has worked in a number of settings (trio, quartet, duo and ensemble), Daisy has done the same (most notably with, Klang, The Engines, The Vandermark 5 and his own Vox Arcana). They are highly creative forces on their own. Together, they have crafted an amazing duet record that is fun, raucous and inventive.

The Flower And The Bear I have to assume relates to the two musicians themselves. Either way this is an album that shine with life and activity. Built on only five extended pieces, both musicians bristle with excitement. "Graystone" slowly builds on Levin's structured yet somehow improvised movements. These are matched with free flowing rhythm's from Daisy, until the two get midway into the piece and the wheels come flying off in beautiful rolling cacophony.

"The Flower And The Bear" feels like a hunt for Chanukah gelt that turns out to be a creepy message from the under-world (that's the best way I could describe it). But really, its an adventure in improvisation. Percussion and cello are the perfect compliment in this setting because you can create a variety of sounds that are both rich, pure and beautiful. Daisy and Levin manage to do that with ease. "The Flower And The Bear" ventures into a scattered and diverse structures towards the end but somehow manages to keep the listener well focused. Levin and Daisy become one sound as the movement heads towards a calm conclusion.

"Steel Flags" may be the only track with a real structure, which is laid out in the beginning by Levin. At times Levin almost turns his instrument into a percussion piece. The unity that the two musicians display throughout this piece is spellbinding. It's intense but quietly affective. There are striking layers of tense beauty as well as repetitive patterns that construct the overall theme of the piece. It's engaging without being disarming. Wonderful stuff.

With The Flower And The Bear, both Daniel Levin and Tim Daisy effectively show they are at the top of a very small list of creative musicians within the free-improvisational structure of musicians. Highly Recommended.

Mike DiRubbo & Larry Willis

2011-09-29T16:00:00.003-04:00

Mike DiRubbo (sax) / Larry Willis (piano)

Four Hands, One Heart (Kasanti Records; 2011)

Staying with the duet theme this week, Mike DiRubbo and Larry Willis deliver a magnificent collection of standards and a couple of originals that are warm and inventing on Four Hands, One Heart (Kasanti). This is the first album on DiRubbo's own label and its a great way to begin.

Sweet and soft touches of Mike DiRubbo for me have a lot in common with the more comfortable but hard bop of Joe Henderson and Jackie McLean. Larry Willis for me has always had a delicate soul-influenced tone which blends perfectly to DiRubbo's rhythms. Willis has been able to move from both R&B, Rock and Jazz throughout his career. He can sometimes be compared as a soulful Harold Mabern or Kenny Barron. And when you listen to this stellar little record you might even be reminded of a recent release by the late Frank Morgan and John Hicks entitled Twogether (High Note).

On the opener, "Introspection", written by DiRubbo from his second album as leader Keep Steppin' (Criss Cross; 2001), the two maestros set a lovely free moving pattern; very little improvising, just focusing on the song structure. Not that different from the original but it does allow the listener to gently move into the realm of the album's main theme which is the unity between the two musicians. But it can also reflect the unity between friends, families, lovers and just the listener's connection to music in general.

"The Maji," a track written for Willis' Sanctuary (Mapleshade Records; 2003) album is completely stripped down from the quintet piece this was originally a part of. But the uptempo level has been dissected to a more insular tone between sax and piano to gives the song a real emotional impact the original doesn't deliver. Horace Silver's "Peace" maintains the same soulful energy of the original but makes a bolder impact thanks to DiRubbo taking over a combination of notes from Blue Mitchell (trumpet) and Junior Cook (sax). But it's Willis who shines here. He transforms Silver's passages into a deeper register that really leaves you hanging onto every note.

"Alone Together" makes for a beautiful closing number. A simple three chord pattern from Willis in the opening and a long sultry soliloquy from DiRubbo extends the piece with a stirring resonance that is both powerful and uplifting.

Four Hands, One Heart is a wonderful contemporary album that merges both the talent of a legendary pianist and the already accomplished and well respected saxophonist. This is great stuff that deserves everyone's ears...

Phil Woods & Bill Mays

2011-09-26T07:45:00.001-04:00

Phil Woods (sax)

Bill Mays (piano)

Phil & Bill (Palmetto Records; 2011)

Two legends who don't really need a whole lot of introduction, Phil Woods has worked with almost everyone in jazz/pop including Tony Bennett, Bill Charlap, Hank Jones and even Steely Dan. He has a tone that has always brought to my mind Stan Getz.

Bill Mays has decorated his jubilant keys across a wide array of albums by artist, including his partnership with trumpeter, Marvin Stamm, drummer Matt Wilson, and his recent Trio recordings. But his big hands & soft tone is slightly reminiscent of Harold Mabern.

So when these two legends got together to record you had to know it would be a nice walk to bebop avenue. And its a walk you won't forget.

Listening to Phil & Bill, I get a strong and proud feeling similar to recent legendary duets in the recent years by Hank Jones & Charlie Haden, Hank Jones & Frank Wess and the Frank Morgan duet album from the nineties entitled, You Must Believe In Spring. There are sultry, romantic moments as well as classic hard driving numbers that give you a deeper appreciation for these two legends. In addition, you will scream to yourself, "Why they don't get the recognition they truly deserve?"

"Blues For Lopes" an early Woods number, is infectious. A bouncing rhythmic pace is set by Woods but is equally met by Mays with a few improvised moments adding a little bit of humor to the outing. It's fun challenge between the two and you will enjoy the atmosphere of every note. Soulful and sweet is how you will best describe the feeling after weeping under the soft tones of "Danielle." It moves softly but with an joyful nature circling inside. Lovely melodies from Woods all the way. He stretches notes at just the right time and allows Mays to come in and take things to a soft and delicate closing.

"Hank Jones" is a lovely tribute by Woods to the great pianist who just passed away last year. Woods and Mays' performance is beautiful with touches of Stan Getz and Oscar Peterson. This again rises with "The Best Thing For You Would Be Me". Soft and bubbly but with the intricate stops and twists to make you feel this one has been done in the club setting before and they just keep making it better and better with each version.

Phil & Bill is one of those records that you will automatically fall in love with at the end of the first tune. These are two great musicians still delivering a powerful and romantic impact after decades of service. It's contemporary and it opens a door to the beauty of jazz history. And it deserves to be heard by everyone. Highly Recommended.

Martin Kuchen: The Lie & The Orphanage

2011-09-24T15:30:00.001-04:00

Martin Kuchen (sax)

The Lie & The Orphanage (Mathka; 2010)

Swedish saxophonist, Martin Kuchen, has explored various soundscapes for almost two decades now.

He has worked with Magnus Broo (in the quintet, Angles), Exploding Customer, Taco Bells trio and Erik Carlsson to name a few. He has worked with both avant garde settings as well as slight straight-ahead trio outings. But with each project he shines on multiple levels.

His bellowing arches of sound made on both baritone and alto sax almost sound like a full quartet at times. On his most recent solo release, The Lie & The Orphanage (Audio Tong), Kuchen creates a host of other worldly atmospherics that are beautiful, frightening and revelatory.

"The Testimony Of Marie Neumann" is a rolling experiment in chord changes. Kuchen manipulates the sax with different breathing techniques and additional found sounds. It's awesome. Like a futurist, Ken Vandermark. You get the feeling you are on a journey through a long cavern with dying flashlight. "The Orphanage" and "Plausible Lies" both feel like an audio collage to a dark nightmare that you somehow can't get out of. It's dense passage and crackling movements swirl inside one's psyche until you realize there is no resistance.

"Killing The Houses, Killing The Trees" inflects a layered and almost tribal element into the setting. The harmonics are pulsating and the focus really becomes the up and down movements of Kuchen's techniques both through breathing and precise note placement. It has cavalcade affect with little shots of intricately placed noise towards its closing notes.

Well most of The Lie & The Orphanage can be placed within the context of improvisation, there is not doubt that there is a melody and orchestration in place that leads the listen on the journey. I am a big fan of baritone sax and when someone finds new ways of conjuring up different sounds and theories it blows me away. Kuchen has done just that on his third solo outing. It really isn't a hard listen but it is definitely a must listen for everyone...

John Coltrane: Live

2011-09-22T08:30:00.001-04:00

John Coltrane (sax)

Live At The Jazz Gallery 1960 (RLR; 2011)

McCoy Tyner (piano)

Pete LaRoca (drums)

Steve Davis (bass)

In a similar vein to the Miles Davis Live Europe release, John Coltrane Live At The Jazz Gallery 1960 is a bit of a rare breed. First, there are few live albums from this year. You would normally find dates from '62 onward. Particularly dates when Eric Dolphy was featured in his group. Secondly, Live At The Jazz Gallery was recorded just a few months after Coltrane left the Miles Davis group (shortly after Kind Of Blue).

The quartet is also slightly rare as it was originally a lineup that featured Steve Kuhn (piano) but he left very early on. It would have been interesting to see what the group would have done in the studio had he stayed. In place of Kuhn came what would becoma a long standing relationship with McCoy Tyner.

Jazz Gallery was recorded in June of 1960 and its a weird time period as Coltrane was between albums, having just finished Giant Steps in December of '59 and looking forward into Coltrane's Sound in '60. Working on new material and working with new members.

He was playing live gigs left and right with the Jazz Gallery kind of a standing "extended" run according to all discography information I have looked at. This group featured the brief partnership with Steve Davis and Pete LaRoca. Davis would go on with 'Trane to record Coltrane's Sound and My Favourite Things. LeRoca was replaced by Elvin Jones.

So here we have a document of an extreme moment in time, and recorded actually not too badly. It's not the best sound quality but its better than some of the worst bootlegs you'll hear.

Coltrane and Tyner quickly seem to meld together and have a unique unity that you could tell would be the foundation for the future. The harmony on "Every Time We Say Goodbye" is something truly beautiful. "The Night Has A Thousand Eyes" (one of my favourite Trane numbers ever) feel powerful and burst with emotion (even if the sound isn't great). "Body And Soul" has sounded better but you get a nice direction in the styling of both Tyner, Davis and LaRoca who handle the material with a steady calm which is different than some of the other live versions you may have heard.

The highlight as many other who have this disc will tell you is the 30 minute "Liberia". This is a track from Coltrane's Sound which wasn't released until October of 1960, so we get and early incarnation of the this midtempo number. Its a piece in progress and you can feel the group moving in out changes finding where each member works best within the piece.

As a historical document, Live At The Jazz Gallery is a very important piece in a transitional year for one of thee LEGENDS of jazz. This might only be for the collector but I think even if you are a moderate jazz fan is probably worth owning, just to impress you're friends. For me, this could be my top reissue of the year. HIGHLY RECOMMENDED.

Miles Davis In Europe

2011-09-19T08:15:00.001-04:00

Miles Davis (trumpet)

Live In Europe 1967 (Columbia/Legacy; 2011)

Herbie Hancock (piano)

Wayne Shorter (sax)

Ron Carter (bass)

Tony Williams (drums)

For many jazz fans we own a gazillion Miles Davis live albums (official and unofficial). But every once in awhile I like to mention a few that are must haves. Live In Europe 1967 is definitely one of them. This is a boxed set of a series of unofficial recordings (aka bootlegs) that have been on the market for years. I own two of the three included in the box already but on this first legitimate release we get a little clearer sound quality.

The really cool thing about this is that while there is a plethora of live albums involving Miles' electric period and a few with Coltrane, this quintet doesn't always get recognized despite the legendary names it includes. The quintet features a scintillating Wayne Shorter who had only recently joined the group after the short tint of fellow great George Coleman, on sax. This is the same quintet that recorded E.S.P., Miles Smiles, Sorcerer and Nefertiti. All albums that would lead up to Flies Of Kilimanjaro and of course In A Silent Way.

This was a fertile and prolific period for Miles and each of his band members. There are some fierce renditions of "All Blues" and "Footprints" where Wayne Shorter and Tony Williams are in blistering form. These were true "young lions" quickly becoming the benchmark for jazz to come. Miles sounds happy and inspired by his companions. His playing is crisp and sharp and at times free flowing. These tunes played on this date don't completely shed light on what would come only a few years later but you do get a sense of Miles thinking more about the freedom of space for his members to create within. "Masqualero" played at each of the three nights in this box is intense and has an aggression that pulls the listener in with each note. Shorter, Hancock and Miles drill you into a meditative mood with great ease.

The dates recorded here find a group that was in fine form and played with exquisite speed and beauty. And while some may ask, why do I need to buy another Miles record? Well the short answer is, because its Miles silly. But seriously, Live In Europe 1967 really did deserve an official treatment and release. The accompanying DVD of live footage also adds to how great this quintet was. And surprisingly the box is reasonably priced making it affordable for collectors and those wanted to investigate a different side of Miles live. You can also check out some of JazzWraps other thoughts on great Miles Davis live albums here.

Sean Nowell: Stockholm Swingin'

2011-09-16T08:00:00.039-04:00

Sean Nowell (sax)

Stockholm Swingin' (Posi-Tone Records; 2011)

Fredrik Olsson (guitar)

Joe Abba (drums)

Lars Ekman (bass)

Leo Lindberg (piano)

Well, swingin' is definitely the best way to describe Sean Nowell's third album on Posi-Tone, Stockholm Swingin'. It's a well balanced and straight-ahead killer set from the Alabama native now New Yorker.

Establishing himself as a solid performer and laying in a steady stream of clean accessible rhythms in this live setting, makes Stockholm Swingin' an enjoyable listen and enticing venture for every music fan.

Stretching and flexing notes like Dexter Gordon or Sonny Rollins, Nowell sets a fire in a live session. More scintillating than his previous two releases only in the sense that in the live setting you really get a better feel for the band, the arrangements and Nowell as a performer. "Ack Varmeland, Du Skona" (more known loosely as "Dear Old Stockholm" for the rest of us) is smokin'. With the usual infectious top-tapping notes delivered beautifully from Lindberg and Nowell, this classic number takes on rich lively tone. Juxtaposed with the great performance from Fredrik Olsson it feels like a Kenny Burrell/John Coltrane session or a flavourful early George Benson album.

Nowell's own "NY Vibe" is cool and bluesy at times. It really does spell out New York for those of us who have experienced the scene for years. A great little number that even my kid was flipping out over. Nowell pulls a lot of punches with these original compositions. His playing is bold and has a lot of strength. "NY Vibe" has a lot more in common with his previous record The Seeker. It's a burst out of speakers and spell a presence of an real entertainer.

The entire quintet set a real pace and impact on "Sweet Night", written by Lingberg and Olsson. Nowell allows the guitarist to take to the fore but the rest of the group are in unison adding stylistic touches that standout in their own way along the path. Nowell rejoins the group just in time to tear into the mid section; adding a buoyancy and vitality that blisters with life.

With Stockholm Swingin' you get the feeling if you've been listening to Sean Nowell for awhile and that he really let the wheels off the wagon and just went for it this time. This is a live session that works on many levels. It's perfect for many traditionalists and a nice opening for new fans. This is the sound of modern standard jazz. It is good for all. Enjoy...

Thomas Heberer: Klippe

2011-09-12T08:00:00.003-04:00

Thomas Heberer (trumpet)

Klippe (Clean Feed Records; 2011)

Joachim Badenhorst (clarinet)

Pascal Niggenkemper (bass)

Stunning. Simply stunning. I really stumbled into this record. It came about as a result of listening to the recent Equilibrium album, Walking Voices. I wanted to investigate some more material that Joachim Badenhorst had worked on and the new album from German born now New York resident, Thomas Heberer kept coming into view. Mainly from friends constantly telling me I need to check this guy out. And I finally decided I'd better take a listen. And what a surprise...

He studied under the great Manfred Schoof as well as plays in the collective Instant Composers Pool, led by Misha Mengelberg and Han Bennink. But aside from those illustrious backgrounds, he has a loaded catalogue of music that varies in themes (somber to cinematic to Moleaver-esque electronics) but is played with the highest of quality.

On his latest album, Klippe, Heberer delivers a chamber session that is moving as well as experimental in texture. The title refers to Heberer's childhood growing up near the Baltic Sea. The music strongly evokes a sense of space, long depths and far-reaching exploration.

"Torn" opens the disc with a delicate examination of space that has both a European classical element as well as encompassing aesthetics of free jazz. It slowly builds just for a moment and quickly recedes back into your consciousness. Heberer's performance is steady and emotionally effective.

Heberer's composition, "Mole" reminds me of early Enrico Rava. It's crisp and vibrant with sharp passages from both Badenhorst and Heberer. Niggenkemper adds an eerie backdrop with his soft touches on the bass strings. "Stapellauf" shows some of the affect Schoff's influence has had on Heberer. It swirls with frenetic and dark tones from both Niggenkemper and Heberer that pulsate and shift back and forth.

"Blanker Hans" and "Luv und Lee" both feature a mixture of improvised and structured chords that sees Bandenhorst and Heberer playing counterpoint while Niggenkemper rides up and down the scales with subtle abandon. "Einlaufbier" returns the listener to shore after a long journey. It's quiet and short but the final notes will linger in your memory well after the session ends.

Klippe is beautifully composed and executed. Stripped of additional instrumentation and giving his fellow musicians the room to roam and improvise, Thomas Heberer is becoming more than just one of the best kept secrets in the European and New York music scene. Highly Recommended.

David S. Ware: Planetary Unknown

2011-09-08T08:00:00.000-04:00

David S. Ware (sax)

Planetary Unknown (AUM Fidelity; 2011)

Muhammad Ali (drums)

William Parker (bass)

Cooper Moore (piano)

Reaching far out and beyond has been a hallmark of David S. Ware's music since first bursting on to the scene, over three decades ago.

He has said on many occasions that he is not looking for the notes or the chords. It's the overall direction and the journey the music takes you on that should be the focus. This is what you get on Ware's latest, Planetary Unknown (AUM Fidelity).

Ware's interpretation of sound is beautiful and nearly indescribable. Yes, there is the free jazz element that lays itself on top of the consciousness of the listener but there is a much deeper exploration to be found with each release.

Planetary Unknown is mainly one long improvised session but the one difference here is the musicians have very rarely worked together (with the exception of Parker) so this was not only an unknown adventure but also discovery of what other worldly themes would develop. The epic and endearing opener "Passage Wundang" moves from soft yet intense to blistering and encompassing without notice. Ware's passages over the top of Ali's pulsating drums are rapturous. Ali later gives way to an emotional yet sparse Moore who utilizes the space underneath to set some key tones. Ware and Parker later rejoin in a subtle blues-like fashion before they all fade to black.

"Duality Is One" actually does start off with "some-what slightly" noticeable string of chords, before spinning into the main theme--an improvised battle between drummer and saxophonist. It's great to see both musicians challenging each other and hit near unreachable notes. Ware really wails and Ali adjusts to the call with ease just as Ware's usually sparing partner William Smith has done for years. "Ancestry Supramental" and "Crystal Palace" both feature some tight rhythmic patterns from Moore that counter Ware's frenetic flow along with Parker and Ali's pulverizing timing. There are hypnotic moments in both pieces no matter how chaotic it may sound.

Planetary Unknown is the sound of an elder statesman who hasn't lost a single step. David S. Ware keeps reaching upward and out. Leaving this world and showing us the way to a new altogether more interesting one. All aboard...

Michael Dessen

2011-09-06T08:10:00.000-04:00

Michael Dessen (trombone;electronics)
photo: Daniel Theunynck

Michael Dessen has an uncanny ability to craft pieces that are delicately structured but also uncharacteristic of his contemporaries.

Similar in vein to Ray Anderson, Dessen also has the ability to move between genres with ease. While he has recorded in many different settings, it has been his recent trio work that has really caught my ear.

Formed only a few years ago, Dessen uses the trio format to explore a number conceptual rhythmic structures. This makes for intensive listening but also a high degree of discovery.

On their first album, Between Shadow And Space (Clean Feed; 2008) along with Christopher Tordini (bass) and Tyshawn Sorey (drums) create a dense, evocative and fluid mixture of acoustic and subtle electronic instrumentation that is really mind-blowing on first and repeated spins.

The title track deploys a rich counterpoint and improvisation. Tordini and Sorey are the perfect counter for Dessen's compositions. This trio challenges and explores each other's strengths. Patterns are structures are slowly built up and quietly torn down over the course seven minutes on the opener and the listener gets a full understanding of what Between Shadow And Space will be for them--A journey through space, sound and thought.

"Chocolate Geometry" moves along in multi-layered fashion. It's like meditative suite. Gentle introspective passages delivered by simultaneously by Sorey's complex brushes and some dense strokes from Tordini. Dessen's trombone turns into a manipulated trumpet augmented by just the right amount of electronics to mix things up and send the piece soaring.

"Water Seeks" comes flying in to the close out the session. A beautiful and searching piece dedicated to Alice Coltrane with all the harmonics and resonance that would be associated with great composer/harpist/keyboard player. It's loaded with rich texture, sharp hues and rising atmospherics that quietly fades leaving the listener some traces of a long beautiful journey.

Dessen reassembled his trio for the even more rugged Forget The Pixel (Clean Feed; 2011). This time with Dan Weiss on drums and Tordini remaining. The results are the same but Weiss does pack a aggressive punch to Sorey's more insular and thought-provoking approach. Both drummers are perfect in this setting though.

"Fossils And Flows" rips through the speakers introducing the lineup and direction. The trio never let up. Its sound quickly becomes an avalanche and Dessen's use of electronics feels like a thousand aliens sending a message that things will be different this time as his group visits your stereo. "Fossils And Flows" is actually an observation on the BP oil spill in the U.S. and and when listening, you get the feeling how things quickly got out of hand in the Gulf is similar to how unique the sound of this trio moves shapes and patterns.

"Forget The Pixel" is a more organic and improvised piece with each member exploring different aspects of Dessen's composition. It's a number that moves, and moves with light but an effective pace. Dessen and Tordini's exchanges are tight and beautiful well placed. Weiss' drums come in first like a military band and quickly turn impressionistic. Tones and utilization of space is one of the reasons why I have been so captivated by Michael Dessen's trio work. "Three Sepals" is another exemplary mark of his unique writing skill. It's a subtle ballad that stretches from note to note. It also has just the right amount of hard tones to keep the listener engaged, waiting for the next unknown marker. A real treat for the ears.

I have to admit, I've only just discovered Michael Dessen's work in the last year so I have a lot of catching up to do. But from his trio work and a couple of other albums I've gotten over the last few months I am completely absorbed and excited by his material and direction. His playing and writing are superb. He doesn't use the electronics as a gimmick. The sounds are more a subtle aid moving in and out time. They never overtake the rhythm or the meaning of a tune. And that's pretty hard to do. Michael Dessen has proven he is a gifted artist with the trombone, electronics and in composition. An artist who is continually thinking and rising above.

Admiral Awesome

2011-09-03T09:00:00.000-04:00

Admiral Awesome (group)

Admiral Awesome (Gateway Music; 2011)

Jacob Danielson (sax)

Christian Windfeld (drums)

Thomas Sejthen (bass)

Fredrik Lungkvist (sax)

Admiral Awesome are a young new Danish trio whose work is fresh and cracking with energy. Their self-titled debut is aided by legendary saxophonist, Fredrik Lungkvist of the group Atomic. As with Bobo Stenson's work with the young Swedish trio Plunge, Lungkvist gives a hard, grittier edge that challenges the group to reach new heights with each track.

In terms of experience, Admiral Awesome is not new. Each member has considerable work with artists such as Arve Henriksen, Fuzz n' Us, and Jakob Bro in addition to individual efforts. So there is no shortage of skill and creativity within this group. Admiral Awesome grew out of a number sessions and live performances over the last year or so. And the fruit of those experiments has resulted in a exciting and all around triumphant debut, consisting of live and studio material.

While your first thought might be the bombastic brass that sits on top of the melodies--this is more than just your usual free jazz session. The quartet quietly introduces itself on "LSB Vals" with a heavy downbeat from Windfeld just before the rest of the group come soaring in. Eventually the piece steams towards a jubilant cacophony only to return gently to its organic beginnings. "Different Directions" is a fierce little number with a jumpin' bebop touch that Charlie Parker would be proud of. The improvised moments are fun and still keep within a linear compositional structure. Something even the uninitiated to free jazz might still be able grasp hold of and enjoy.

"Stockholm Wilderness" has elements of spy-jazz, improvisation and what feels like a little tribute to Dizzy Gillespie's "Salt Peanuts" mixed in. There is a beauty duel between Danielsen and Lungkvist makes this one of my favourite cuts on the album. The stop/start pace and electricity of the performances here from the entire quartet are killer. "Piratsangen" begins in Brotzmann-esque style with powerful blustery notes from Danielsen. His improvised notes take listener or rocky ride that worth all the eight minutes. As the rest of the group slow move into focus the tune becomes more a bluesy ballad. It's haunting and beauty and closes with band singing farewell to a live audience. And that's a perfect way to end the album.

Admiral Awesome is one of those records I assure you will sneak up on you as the year continues. It is currently available on the Admiral Awesome website and will be released widely later in the year. This is an excellent debut and exciting on multiple levels. It's creative, well balanced and fun between the improvised lines. A great listen. Enjoy...

Ambrose Akinmusire: When The Heart Emerges Glistening

2011-08-31T00:30:00.001-04:00

Ambrose Akinmusire (trumpet)
When The Heart Emerges Glistening (Blue Note; 2011)
Walter Smith III (sax)
Harrish Raghavan (bass)
Gerald Clayton (piano)
Justin Brown (drummer)
Jason Moran (piano)

Like last year when I was blown away by new records from Gerald Clayton, Christian Scott and Esperanza Spalding after avoiding the hype machine, I come to that moment again. I was actually already impressed with Ambrose Akinmusire's work with David Binney, John Escreet and Steve Coleman. I have been unable to find his debut album, Prelude (Fresh Sound/New Talent; 2007), but I'm still gobsmacked at the strikingly exuberant second album, When The Heart Emerges Glistening (Blue Note).

Akinmusire has been on the scene only a short time but the musicians he has already performed with along with the growing maturity in his writing is sure to make an impact on listeners this year. Surrounding himself with a cast of musicians he has worked with already over the years makes the album a cohesive and exciting venture from start to finish.

Opening up with "Confessions To My Unborn Daughter", Akinsmusire sets the tone that he is willing to make bold statements and even bolder performances all with beauty and skill that might be beyond his years. There's an energy on this opener that both encompasses the fierceness of Clifford Brown and the modern styling of Terence Blanchard. The exchanges between Smith and Akinmusire are tight and intense. But they underscore the longstanding relationship two have had for some time now. Brown's pulsating timing adds another laying of urgency to the piece that illustrates the quintets effort to make every piece important.

"Hyena" is a midtempo piece but still holds a fresh bold consolidation in structure. Akinmusire allows guest pianist, Jason Moran (on fender rhodes here) to take some of the lead here but moves quietly in and out of the foreground. There's a heavy tone in Akinmusire's voice on "Hyena" that made me feel a lot more emotional than usual when listening to ballad. The performance cuts right into you. I loved that.

While ferocious may be an adjective for describing Akinmusire's overall tone, he manages to demonstrate a real sense of beauty on a number of pieces."Regret (No More)" is one of those numbers in which I sometimes get reminded of Terence Blanchard. It's the soft touches and long notes that feel cinematic in nature but provide a lush beauty that stretches long after the piece as concluded.

"What's New", the lone standard on When The Heart..., shows Akinmusire's more contemporary side. A lovely duet with Clayton, where the trumpeter reflects on what appears to be one of his mentors, Clifford Brown. It's a wonderful piece and shows a much more relaxed nature for Clayton as well. The two tenderly play off one another and it's a standout for both musicians. It's a touch of tradition but performed with modern respect and reflection.

When The Heart Emerges Glistening is shinning achievement from an artist that will be on the scene for years to come and his presence might change jazz in the years to come. Definitely a future voice to be heard by everyone...