Jakob Bro (guitar) December Song (Loveland; 2013) Lee Konitz (sax) Craig Taborn (piano) Bill Frisell (guitar) Thomas Morgan (bass) With December Song, Jakob Bro concludes a wonderful trilogy that started in 2008 with Balladerring and then Time in 2011. A beautiful and melodic tribute to one his mentors, the late Paul Motain, December Song is another shinning document in the growth of an very subtle yet expressive voice, Bro has become over the last decade. "Giant" flows heavy and effectively on the notes of Konitz and Bro. But the addition of Taborn adds a complexity that give the atmospherics of Bro's playing more dynamics and experimentation. "Zygaena" and "Tree House" are similar to compositions from Balladerring and Time yet still show the growing aspects of Bro's writing after all these years. Both consist of lush, gentle tones that highlight the weaving patterns of Bro's guitar and Americana themes laid out by Frisell. But as always, Bro turns both pieces into a kind of journey that is rich and imaginable. "Risskov" and "Vinterhymne" have folkish qualities that both romantic and dream-like. The compositions are like lullabies. "Risskov" is highlighted by Konitz's bold horn and Bro's subtle yet captivating notes. Quiet and short notes that linger with each echoing tone. "Vinterhymne" is more a drifting piece with images that fade that softly in the distant sunset. A wonderful closing number and longing gesture to one of his mentors. December Song is again another statement of powerful creativity from a composer and performer who seems to be prime, prolific form at the moment. I try every chance I get to tell as many people about Jakob Bro. I'm hoping that an album such as December Song can do it all without me screaming to the hilltops. It's that beautiful and that good. One of my favourite albums of the year. And I already have a small list of them (Jason Moran/Charles Lloyd, MOPDTK, Sunna Gunnlaugs, Soren Gemmer and Soren Dahl Jeppesen to make the short list). But Jakob Bro always seems to make that list. Highly, Highly Recommended!
Lars Danilesson might not be well known amongst many jazz fans but he is building an exciting and diverse portfolio of work. He has recorded over 12 albums and performed as a sideman on countless of other releases. The bassist has worked with Charles Lloyd, Eivind Aarset, Nils Petter Molvaer, Jack DeJohnette, Viktoria Tolstoy to name a few. His style while quiet is beautifully orchestrated. He had a constant quartet in the '90s that featured Bobo Stenson (piano), Dave Liebman (sax) and Jon Christiensen (drums) that recorded a string of astonishing sessions that only one is readily available Far North (Curling Legs). That quartet definitely helped shape Lars Danielsson compositional vision and I think is responsible for his more adventurous recordings of late for ACT Music.
His current work on ACT has ranged from lush jazz orchestral dates to electronic influenced sessions (with help from Nils Petter Molvaer and Bugge Wesseltoft) and a beautiful, folksy, melodic duo recording with Polish pianist, Leszek Możdżer, entitled, Pasodoble. Pasodoble is probably the one I would recommend to most people as a good starting point. Its quite, spacious and lovely for any setting. With incredible and emotional interplay between the two musicians.
Another quintet release that might also be appealing is his most recent Tarantella. Tarantella is multi-dimensional and has a texture that seems to almost envelope the listener and carry you a delightful journey for an hour. Touching, honest and experienced, Tarantella shows serious growth from a bassist with two decades of experience working with some of the best musicians in jazz.
Just in the last few weeks Act Music released an amazing compilation spanning all of Danielsson's album on various labels. Entitled, Signature Edition (there are three other artists in this new artists specific compilation series), it may be more than the unitiated need but if you are familiar with his work which can be hard to find this is well worth getting. I found it on Amazon more else buy stumbling on to it--but I'm happy I did. There is a lot of material I couldn't find and most of it is included here. Signature Edition is a two disc set. There is a digital version but its only half the tracks.
Danielsson's seems to be able weave classical themes and jazz improvisation with incredible ease. Another reason why I find him an exciting proposition for anyone getting into jazz to check him out. I'm hoping that some time sooner rather than later everyone will get to hear Lars Danielsson.
The greatest and most recorded jazz drummer of all time. High praise yes but if you actually knew how many albums on which Billy Higgins plays, you would understand (and also probably be a very rich person). Billy Higgins played in R&B when he was young, coming to prominence once he joined bassist/pianist, Red Mitchell's group. This led him to apply his versatility in both complex and delicate recording sessions and live gigs. Billy Higgins had become the "artist of choice"--recording and performing with such musicians as Lee Morgan, Pat Metheny, Herbie Hancock, Ornette Coleman, Thelonious Monk, Sonny Rollins and most recently with Charles Lloyd.
His style was rhythmically understated but always precise. Billy Higgins could literally do-no-wrong when behind the kit. As a result of Billy's "in demand-ness" (at least 100 sessions as sideman) his own discography is very thin. But thinness doesn't mean lack of quality. Of the ten albums attributed to him as leader only about four are still available--just barely. I don't own all his albums but he is one of the first artists I look forward when I'm in a used record store. His recordings are beauty and each provide a small bit a variety to making them very distinct from each other. Again the understated quality combination with superb musicianship.
I would recommend The Billy Higgins Quintet (Evidence, 1997) as one of the album you should definitely seek out. Quintet includes a wonderful lineup featuring Oscar Brashear (trumpet), Harold Land (sax), David Williams (bass) and his most consistent collaborator Cedar Walton (piano), all in absolutely sublime form for this outing. Higgins was never really an original composer; his own releases contained standards and material written by his fellow musicians. But that shouldn't stop you from taking a good listen to this fabulous recording. Cedar Walton and Harold Land are legends and are really cookin' on this session as evident on the opener, "Step Right Up To The Bottom," and " The Vision" both written by Land and Walton, respectively. They almost overshadow the proceedings until you listen closely and realize who really is leading the session--Higgins. It's an awesome recording that would be worth the money to pay for.
In the last few years of his life he had recorded with saxophonist Charles Llyod, most significantly on Llyod's 2004 album Which Way Is East (ECM). Which Way Is East is phenomenal and features an array of instruments played by both musicians on this duo session. Higgins even plays guitar on a couple of tracks. This album may be only for the true jazz fan but I highly recommend it as an example of what both artists can do at the top of their game. The album was recorded just a few months before Higgins passed away.
Billy Higgins was an indelible figure and his influence will be felt for years to come. Check some of your albums you may even have Higgins in your collection and don't even know it. The word "legend" gets used allot (even by me) but in Billy Higgins case it is beyond a shadow of a doubt.
Jakob Bro (guitar)
