Atomic: Theater Tilters

Atomic (group; formed 2000)
Theater Tilters (Jazzland; 2010)

Fredrik Ljungkvist (sax; clarinet)
Magnus Broo (trumpet)
Havard Wiik (piano)
Ingebrigt Haker Flaten (bass)
Paal Nilssen-Love (drums)

Atomic along with The Vandermark 5 are probably the two most important free jazz groups around today. The similarities are obvious. Each has a unique sound world that embraces both structure and freedom. But in the case of Atomic, the Swedish/Norwegian quintet utilizes a little more subtle melody, thanks to the inclusion of Havard Wiik on piano.

Theater Tilters is the groups second live album (a two disc set) and as with the first live (included in the three disc set Retrograde from 2008), Atomic prove they are growing increasingly innovative and versatile. The album was recorded over two night in October of last year.

Theater Tilters opens on a lovely violent and discordant note of "Green Mill Tilter" (possibly named after the famous Chicago jazz club) and never lets up. "Green Mill Titler" slides into a groove led by Wiik and Haker-Flaten and some battling between horns and drums. And then all-stop. We are then treated to probably the most melody friendly track of the proceedings "Andersonville" which sees Fredrik Ljungkvist leading the way on clarinet. This is a wonder piece with nice balance of free jazz and almost classical themes. It's a tasty piece of work and also the longest track over both discs. "Bop About" (originally featured on the bands third album The Bikini Tapes) closes the first disc sheer tour de force for all the members and definitely in the Ornette Coleman, Archie Shepp realm of frenzied rhythms and patterns. A perfect way to end the side one.

One of my favourite Atomic tracks that I could listen to everyday opens disc two, "Roma" (which also opens the band forth album Happy New Years) is blistering six minute piece that shows each member adding fuel to an already rampant fire of an evening. Wiik's forceful movement on piano are countered by Nilssen-Loves pulsating cacophony on drums. Broo and Ljungkvist add some scintilating treatments to make these a white noise affair but one that you will fall in love with quickly. Things between to calm down a bit with "Snguine" and "Edit" as Broo takes a more of the lead with some beautiful coloring reminiscent of Enirco Rava. These two tracks bristle with freedom and romanticism all the while holding a creative European edge.

Theater Tilters finally closes with the perfect example of the bands freedom and individuality "Two Boxes". "Two Boxes" features some fantastic interplay that really does go "out there" and back. Killer stuff from Ljungkvist, Haker-Flaten and Wiik with the rest of band closing in like climax of a horror movie.

Now as with The Vandermark 5, The Thing and Supersilent, Atomic are not for the faint at heart. This is an attack on the senses but the melody is there once you let the sounds envelope you. Theater Tilters is just another in the amazing cannon of one Europe's finest jazz groups. This is not my first choice for the Atomic uninitiated but if you want adventure in your music--Atomic is a great band to start with. Enjoy...

Jason Adasiewicz: Sun Rooms

Jason Adasiewicz (vibraphone; b. 1977)
Sun Rooms (Delmark)
Nat McBride (bass)
Mike Reed (drums)

If you don't already know the a name, Jason Adasiewicz, you need to. Hailing from the increasing fertile and creative Chicago Underground scene which has also produced the Lucky 7s, Exploding Star Orchestra, Ken Vandermark and Jeb Bishop, Jason Adasiewicz is fast becoming one to of the most important exponents from the windy city. His newest release, Sun Rooms (Delmark) is only his third album as leader but he has been making his presence felt on a number albums as a session member for almost ten years now (including some the aforementioned).

While Adasiewicz previous releases, Rolldown (482 Records) and Varmit (Cunniform) both show a growing creativity on vibes and in writing, Sun Rooms is incredibly spacious and inventing. At times Adasiewicz feels more like a pianist moving effortless along the scales. Some comparisons to Bobby Hutchinson (circa Blue Note) or the Dave Pike Set might seems logically but don't necessarily fit. He has sited Andrew Hill as an influence which does come out at times in the complexity of his pieces.

His trio which includes Nate McBride and Mike Reed take Adasiewicz's compositions and envelope them with warm abstract tones. This is accompanied by Adasiewicz's delicate but forceful rhythmic structure. This is evident of the cover of Hasaaan Ibn Ali's "Of My Back Jack" and the wonderful version of Sun Ra's "Overtones Of China."

But its not just the covers that make this a really supreme step up from his previous albums. The material Adasiewicz has written for Sun Rooms shines with quality. "Get In There" and "Life" show intricacies and playfulness that Thelonious Monk would love. Fast paced and hard hitting "You Can't" shows some forceful interplay between McBride and Adasiewicz with Reed keeping the rhythm fresh and subtle in the background.

There is a hypnotic nature to these pieces that after the first spin you really can't get the rhythms out of head. That to me is the sign of a great record. Jason Adasiewicz is definitely a fresh nice voice from a avant garde scene that reveals New York in every way. Sun Rooms is a record that should not be overlooked by jazz fans.

Jazz On Sunday: John Coltrane

John Coltrane (sax)

The Gentle Side Of John Coltrane (Impulse, 1975)

Just a quick small entry for today. For me Sunday is a John Coltrane day. What better way to start of a morning than pulling out a Trane record and sitting with a nice cup of coffee (or tea). A few weeks ago I pulled out rarely talked about compilation, The Gentle Side Of John Coltrane (Impulse). The Gentle Side is as the title says a collection of the more mellow, ballad-centric recordings. While most Coltrane fans will have these songs on the individual albums or even other Coltrane compilations, this collection is nice put together from a listening perspective.

The Gentle Side starts out with the beautiful recording written by the highly underrated pianist Mal Waldron, "Soul Eyes" and then proceeds through a lovely journey of romanticism. Even latter tracks such as "Wise One" and even "Welcome" (from one his last albums Transition) sit perfectly along side the earlier Impulse pieces. This is an album that really highlights the lyricism and versatility of John Coltrane. The great duets with Johnny Hartman "My One And Only Love" and Duke Ellington "In A Sentimental Mood" are also included showing Coltrane wonderful collaborative spirit. One of my favourite Trane recordings "Alabama" is also featured and while it is a very short studio version it is still pretty stellar to listening experience.

Essentially if you only own one or two John Coltrane records or even if you own everything, The Gentle Side Of John Coltrane is still a great little purchase. A wonderful companion piece to any Trane collection or a nice starter collection for new fans. The Gentle Side Of John Coltrane is a beautiful and emotionally inspection of one the major figures of Jazz. And as I mentioned before its a perfect Sunday album.

Soweto Kinch: The New Emancipation

Soweto Kinch (sax, vocals; b.1978)

The New Emancipation (Soweto Kinch Recordings)

Ok so this is the part where I say, "this is going to be one my albums of the year." While let's just say 2010 has been a really good year for jazz. Mainly new stuff. New and creative stuff. I can tell everyone right now that my number one and number two albums are...eh, er, uh--well, why don't we wait a few more weeks for that. Today I did want to talk about what will definitely be on my top albums for year.

The long and arduous return of the jazz-hip hop alchemist, Soweto Kinch. I've discussed, London based, Soweto Kinch's incredible qualities before but I think on his new album The New Emancipation (SK Recordings) he has finally achieved the promise and hope that some many of us who have followed him over the years have been waiting for. The New Emancipation is sheer brilliance for a new century.

Early in his career, Soweto Kinch was guided by current British jazz legends Gary Crosby and Courtney Pine. After receiving a nomination for the UK press coveted Mercury Prize and critical acclaim for his debut, Conversations With The Unseen (Dune; 2003). Conversations... as with its follow up A Day In The Life of B12 (Dune) were both commentary on struggles of black British youth. But they can also be observed as the struggles of everyone in lower to middle class around the world. The great thing about powerful music is that the themes when communicated right, stand the test of time. And with Soweto Kinch, I think we may have found another great communicator of the urban theme.

After a great one off single Jazz Planet (Dune), some legal wrangling with his former label and the still unreleased sequel to A Day In The Life titled Basement Fables, now on shelf (hopefully not forever) Soweto began releasing music again in 2009. The Live At iTunes Soho release and an amazing hard hitting hip hop/jazz mini album War In A Rack (SK Recordings) signaled that Soweto was back and stronger than ever.

Now this month with the release of The New Emancipation, Kinch has probably designed the best and clearest document of his vision of Jazz and Hip Hop to date. While the album is based on Soweto Kinch's recent studies on slavery, The New Emancipation is also about the not accepting the pressures that try to hold us down. It's about our efforts to learn and break free from conformity.

Opening with the complex, dichotomy of artist, record label, celebrity and making it rich, "Trying To Be A Star" and moving into the bristling hard bop of "A People With No Past"--very reminiscent of Branford Marsalis circa Crazy People Music. In the first two full tracks Kinch has made his case that Jazz and Hip Hop an coexist within the same sphere. The influence of both someone like Branford, Sonny Rollins, Jackie McClean and Hip Hop artists Mos Def, KRS-One and Black Thought (of The Roots) can be felt throughout Soweto's discography. This is good shit people.

"Suspended Adolescence" is a nice straightforward post bop piece which shifts perfectly into soulful rhythms of "Help" which bases itself in some gospel themes slowly dives into rolling, frenetic Kinch solo. Kinch has embraced his influences and produced some astounding material on The New Emancipation.

"Trade" is another piece of post bop brilliance that put Kinch up there with many of his American counterpart as his skills on the alto begin to flourish beautifully. "On The Treadmill" is a slice of New Orleans funeral jazz funk that sees Kinch and his band having a delightful interaction.

The New Emancipation balances the Hip Hop and Jazz tracks to perfection. This lyrical delivery of Soweto Kinch has never been more clear than now. But also his playing has become more mature and focused. This is an statement of our culture as well as deconstruction of what Jazz and Hip Hop should be.

The New Emancipation is by far one of my albums of the year. I hope everyone gets a chance to hear this because its absolutely brilliant.