The Intersection: Jaga Jazzist — One-Armed Bandit (2010)

The Intersection is an occasional feature on JazzWrap that looks at artists that blend jazz with electronica (a tradition pioneered by none other than Miles Davis on such classic recordings as On The Corner).

This week's focus is Jaga Jazzist's One-Armed Bandit (Ninja Tune, 2010)

It's been five years since we last heard from Jaga Jazzists. The wait is over. The Norwegian nine-piece nu-jazz fusionists have returned with their strongest set to date, One-Armed Bandit.

What made Jaga Jazzist great in the past — the sick chops, the mind-boggling creativity, the melodic invention — is on full display on their new album. You can't help but imagine the ghost of Frank Zappa influencing the band from beyond. The intricate, hyper intelligent whimsy of Hot Rats/Grand Wazoo-era jazz-rock is an evident touchstone for this band. The title track in particular sounds like a sequel to Zappa's "Peaches in Regalia.

The band isn't shy about its progressive jazz rock influences and certainly has the ability to demonstrate them on tracks such as "Bananfluer Overalt" and "Touch of Evil." Another influence is contemporary minimalists, particularly Steve Reich, whose phasing technique is executed brilliantly on Jaga's "Toccata".

For all of its intricate instrumental interplay Jaga Jazzist still squeezes out some memorable hooks. The title track is a great place to start. While certainly no pop tune, its main melody is as memorable as they come, bolstered by strong counterpoint, a swinging rhythm section and an imaginative arrangement that has room for fat synths, brass, vibes and distorted and slide guitar.

Read the previous Intersection post about Jaga Jazzist.

Next time: Parov Stelar

Thelonious Monk In 1964

Thelonious Monk (piano; b. 1917 - d. 1982)

The year is 1964, Thelonious Monk has become a household name. He was the in-demand performer. The leading light among jazz musicians. He garnered the cover of Time magazine in February of that year. At the beginning of 1963 Monk had just recorded the highly successful Criss Cross (Columbia) album which included such staples as Rhythm-A-Ning, "Crepuscule With Nellie," and "Hackensack". Monk would spend the majority of '63 touring.

 
He did not return to the studio until January of '64. At this time he would embark on one of his most critically acclaimed albums yet, It's Monk Time (Columbia). It's Monk Time marked the introduction of a new quartet featuring Charlie Rouse (who actually had already been with him on Criss Cross) on sax, Ben Riely on drums and Butch Warren on bass. The quartet hit it off immediately in the studio and the results were a thematic and melodic success. The material may not be the most recognizable of the Monk cannon but it is an important album in that the band rehearsed and performed live consistently over the three months it took lay these tracks out. It's Monk Time featured lovely interpretations of "Memories Of You,"Nice Work If You Can Get It," and phenomenal "Brakes Sake" which showcases the "oneness" between Charlie Rouse and Thelonious Monk.
 

A key document to me are a series of dates recorded in Paris in February 1964, entitled Live In Paris Vol. I & II (Explore Records/Thelonious Records). The same quartet had embarked on a European tour. The material is mainly from the previous years sessions but the playing is of the highest order. The band are really on fire as you can hear on tracks like Straight No Chaser","Well You Needn't," and "Bright Mississippi". The band were working on strong purpose. The simpatico that Rouse and Monk had was always evident. But it was how quickly and flawlessly that Riely and Warren melded into place that is astonishing. This for me is one of my favourite Monk lineups and they proved every night in 1964 and onward.
 
The Live In Paris Vol. I & II accompanied with It's Monk Time are three Monk albums that give a super quick jazz lesson for 1964.
 
Not much video footage from this year but here's a great video from Europe with Monk 1963 lineup featuring Frank Dunlop (drums), Charlie Rouse (sax) and Johnny Ore (bass).

Alan Shorter and The Unheralded Masterpieces

Alan Shorter (trumpet; b.1932 - d. 1987)

Alan Shorter is the older brother of jazz saxophonist, Wayne Shorter. Alan Shorter only recorded two albums in his short career but they are two truly essential albums if you enjoy the avant garde. He was known in the jazz circles for his creative spirit and did great session work, mainly with Archie Shepp, Marion Brown and his younger brother Wayne's classic Blue Note session All Seeing Eye.

Alan Shorter's debut, Orgasm (Verve; 1968) included some rich and highly textural ideas that may not have made an impact on American audiences since this was the norm of the time but it is one of those albums that does loom large in Europe. Shorter leads a skilled ensemble which featured a young Charlie Haden (bass), Gato Babieri (sax), Reggie Johnson (bass), Muhammad and Rashied Ali (drums) through two turbulent sessions due to friction with the production and musicians themselves but these were musicians in search of a fresh new concept. They found it and while it may be a difficult listen for non jazz fans it is a massive treat for anyone interested in the free form movement of ideas.
 
Alan Shorter's second album, Tes Esat (America Records) was recorded in France where he moved shortly after his debut. The album was recorded with another set of young musicians and featured the same free-wheeling atmospherics but doesn't have the same immediate impact as Orgasm. Tes Esat is still a document that you have to hear. I think Tes Esat is session that fans of Vandermark 5 would find enjoyable. This album wails in some of the highest registers and may be only an occasional listen oppose the debut but at the end of day you need to hear both albums to understand the mindset and direction.
 
Alan Shorter encompassed ideas that Ornette Coleman, Eric Dolphy, Don Cherry and Miles Davis had been working on for a few years earlier, unfortunately audiences didn't dig deep enough to find the new artists of the time to see jazz might go next. Shorter had his demons which led him to leave America for France in the late 60s. He would later retire from music but you really should seek out these albums (especially Oragsm) they are true treasures of the free jazz movement that will challenge you. Isn't that why jazz is all about?

The Necks: Live Review

The Necks Live At The Issue Project Room (Brookyln, NY) - 27.1.2010

Chris Abrahms (piano)

Tony Buck (bass)
Lloyd Swanton (drums)

(photo: Holimage)

It's a chilly but calm night in New York City as I ventured to an industrial part of the borough of Brooklyn. An old factory turned art collective is the host for one of Australia's best kept secrets--The Necks. The Necks are an improvisational trio that have been on the jazz scene since 1987. They have fortunately or unfortunately only managed cult status in the U.S. due more to the limited availability of their albums but make no mistake, The Necks are a band that subtlety encroach upon your psyche like the first seed you place in the garden to grow that beautiful plant or vegetable.

The Necks start with what feels like a slow burn (because it is). Many of their pieces are in the epic proportion, with quiet first and second movements and delicate swathes of percussion, amplified piano and bass effects which take the listener on deep dream-like journey. This is what we the audience experienced on Wednesday night here in Brooklyn. The Issue Project Room is mainly an old factory loft room with an extremely minimal atmosphere. The audience were hardcore fans and people like myself that had probably just started hearing about them in the last few years. This was only The Necks third trip to the U.S. and Canada on a very brief six city tour and they did not disappoint.

The atmosphere was that akin to waiting for a great classical pianist to come on stage. You could hear conversations about what album each person owned and how they were excited to have the chance to see this band on what is truly a rare occasion.

The night featured two pieces both lasting roughly 45 minutes. The first set began with deep intense interplay between Tony Buck (bass) and Lloyd Swanton (drums) as utilized some mystifying percussion and finger picking to create some other-worldly ambiance. This was all held together by Chris Abrahms' quiet manipulation of the piano. The piece continued a beautiful undulation until Abrahms piano gently guided its audience in for a smooth feather-lite landing. A perfect way to lead the audience into intermission with a hunger for what would come next. The second set opened much as the first but this time exchanges shifted between Abrahms and Swanton with slight chord changes and a tonal quality that only the subconscious might pick up. The second set featured more electricity and something to grab hold too but only slightly. Tonight was a thought-provoking affair.

A night in which minimalism, improvisation and musicianship met with beautiful consequences. There are few bands around who could have pulled something like this off and have the audience walking away in complete awe. This what you want out of a live show--a band that has been together for so long they know each others next movement and an audience that is open and willing to travel with them on every hypnotic note.

An evening of rare beauty and experimentation as well as great testament to musicianship. I highly recommend that you check out some of The Necks music. The new album Silverwater (ReR) is a quiet masterpiece. It's takes some time to digest but once you've been sucked into The Necks vortex I think you will enjoy the trip immensely.