The Vandermark 5 On Fire Again!

The Vandermark 5 (group)

The Horse Jumps and The Ship Is Gone (2CDs; Not Two Records)

Ken Vandermark (sax; clarinet)

Tim Daisy: percussion  Dave Rempis (sax)
Kent Kessler (bass)  Fred Lonberg-Holm (cello)

Magnus Broo (trumpet)  Havard Wiik (piano)

The Horse Jumps and The Ship Is Gone is The Vandermark 5's fifteenth album. For this outing Ken Vandermark takes the unique step of inviting two of his regular collaborators in his other projects, Magnus Broo (trumpet) and Havard Wiik (piano) (of the group Atomic) to sit in and it has some stunning results. The album features a number of tracks that appeared on the band previous two albums Annular Gift and Beat Reader.

It is rare to hear Ken Vandermark in any of his groups, with a pianist, let alone his mainstay V5. The other groups being Free Fall and the supergroup Atomic-School Days actually also include Havard Wiik as well as the full Atomic group.

The addition of the two Atomic member does add a bit more fire to the session. It seems Vandermark's material here is more challenging and each member has allot to counteract with throughout the recording. Things get started heavy with fierce opening number "Friction" where Wiik's heartpounding progression an intensity and urgency to band that I haven't heard in a few records. On the next piece, "Some Not All," the group subtle into a rhythm lead by the pianist and Tim Daisy on drums with some unbelievable work from Longberg-Holm on cello. The horn section led by Vandermark provides a wonderful battle like Godzilla vs all of Japan.

Wiik contributes to magnificent pieces to this set "New Weather" and "Green Mill Tilter", the latter featured recently on the Atomic live album, Theater Tilters (Jazzland). "New Weather" is nice and complex piece with the horn section leading the way in the early going and quietly giving way to some trio interplay by Wiik, Longberg-Holm and Daisy. Then returning to the horns for some rich, bold statements on each players part. Wiik has written a piece that suits V5 perfectly. Since each of the members have played with one another in very forms you have to except there is a great deal of knowing each others movements and strengths. Wiik and Vandermark have picked up on that perfectly throughout The Horse Jumps...

"Cadmium Oranage" begins with some swirling clarinet work by Vandermark that would make Jimmy Guiffre proud. The track becomes a melodic, avant funk workout for me reminiscent of Vandermark's work with another of his side projects, Spaceways. "Desireless" is beauty piece of avant garde in which Rempis, Vandermark and Broo have an interplay that uncanny drives the rest of the group forward. While Wiik's playing again standouts, its Kessler who is the glue that holds things together here. Kessler's propulsive work is the counterpoint rhythm that keeps the group in track.

And speaking of glue, "Cement' is another piece in which Daisy, Wiik and this time, Kessler lead the rhythm with the horn section coming in as cinematic response chords. It gets funky and it gets wild and before you know it--its over. This is amazing piece written by Vandermark which provides another set of opportunities for each member of ensemble to shine accordingly.

The final track "Nameless" hits you like a wildfire. The sheer ferocity of Rempis and Vandermark monumental playing here soon opens to a wall of distortion from Longberg-Holm and then returns to some quiet but humorous interplay between horns, piano and drums and finally a destructively perfect ending solidifying well rounded and accomplishing outing.

The Vandermark 5 as I have said before, are one of the few bands pushing jazz forward and beyond. The Horse Jumps and The Ship Is Gone is no exception. It is a compelling and sprawling work that challenges everything in free jazz and shows this American quintet plus two to be in peak form. The Vandermark 5 get better with each record. And I have to say this is probably in my top three favourite V5 albums ever. HIGHLY HIGHLY RECOMMENDED!

Brad Goode: Tight Like This

Brad Goode (trumpet; b. 1963)
Tight Like This (Delmark; 2010)

Brad Goode has been producing some elegant and seductive material for over 20 years now. I had originally first heard Brad Goode on Curtis Fuller's 2004 release, Up Jumped Spring (Delmark). I was floored by Goode's playing on that sessions. His skill is unquestionable. Goode has also worked with such legendary musicians as Von Freeman, Joe Henderson and James Moody.

His latest, Tight Like This (Delmark) provides some hard bop motifs in the vein of Clifford Brown, Woody Shaw and Donald Byrd. Goode delivers a fresh, excellent and easily accessible album of mostly originals and standards on Tight Like This that I think a large majority of audiences will enjoy.

The album begins with the title track, originally made famous by Louis Armstrong in 1928. Goode gives its a very up tempo twist with some great funky rhythms, making it highly infectious. It's almost night and day from the original with a pulsating bassline from Kelly Sill and mood moving melody from Adream Farrugia on piano. Goode really turns this piece into his own.

Another wonderful standard Goode delivers early on is "Nightingale" (written by Xavier Cugat). Goode maintains the underlying Latin rhythms of the song but also adds some lines for his quartet to stretch out and make this more than just a by-the-numbers Latin cover. Drummer Anthony Lee is brilliant adding subtle touches to accompany Goode's romantic movements throughout.

"Reverse The Charges" is swinging and funky number that would fit perfectly on radio. That's not a bad thing. This is originally a number from 1945 by the truly under-rated and deserving of greater recognition, Freddie Webster (trumpet). Goode again creates an excellent arena for the band to hit some individual high points throughout.

On "Summary" and "Midwestern Autumn", Goode highlights his skill as writer with two bluesy ballads that have significant emotional resonance. Beautiful textured with luscious undertones.

"Bob's Bounce" is smokin' number where the quartet really let loose. This for me is where Goode could almost channel Woody Shaw. It's a blistering piece of work with a great bass solo midway through. This one of those pieces that even more sizzling in a live setting.

Tight Like This is diverse session that sinks on after a couple of spins and then really becomes a part of your daily rotation. I haven't been listening to Goode's material for long but I have been quite impressed with his progression. He has develop a highly creative pattern of deconstructing standards in addition to surrounding them with his own vibrant material. Tight Like This is no exception. For those looking for a great upfront, straight ahead hard bop record with solid performances and material--Tight Like This delivers everything you want.

Celebrating Thelonious Monk

Thelonious Monk (piano; b. Oct. 10, 1917 - d. Feb. 17, 1982)

Yesterday was Thelonious Monk's birthday. Now if you have been reading this blog for awhile you know I've written about Monk on numerous occasions. He is one of my favourite artists of all-time. So I won't go into much detail today (you can read previous entries). Today I wanted to celebrate his birthday by discussing three great compilations that give a very complete overview of his genius.

Each compilation covers a specific period and all are fairly inexpensive. You could easily get all the Monk you wanted in one shopping trip. That's not too say that albums like Brilliant Corners (Riverside Records), Criss Cross (Columbia) or It's Monk Time (Columbia) should not be purchased but in a environment where individual albums are becoming harder to find, some of you should at least know about the best collections that would served the purpose well.

The Best Of The Blue Note Years (Blue Note)

This album is also known as 'Round Midnight (in some countries) as well as a couple of other different titles. The track listings vary slight and the covers are definitely different but the history remains the same. These are recordings from '47 - '52 and feature Monk in sessions with Art Blakey, Coleman Hawkins among others. Consider it "the artists as a young man" period. This is Monk delivering some of great skill on standards like "Nice Work If You Can Get It" and "April In Paris" in addition to early versions of his classics (known standards) "Epistrophy," "'Round Midnight," and "In Walked Bud". At first listen it may seems slightly non-descript but once you have submersed yourself in the other two collections you will come back to these recordings with a sense of amazement.

The Definitive Thelonious Monk on Prestige and Riverside (Concord Records; 2CDs)

This recently released compilation is prime material from '52 - '60. It features a host of legends in sessions with Monk, including John Coltrane, Miles Davis, Max Roach, Gigi Gryce, Sonny Rollins are more. It's two discs at an exteremely affordable price (at most places) and includes a large chunk of the classic Monk pieces, "Brilliant Corners," "Trinkle, Trinkle," "Nutty," and "Staight No Chaser". Monk's playing at this point was incredible. This is Monk developing into a very distinct voice on the scene and his compositions becoming more and more potent. His personality was emerging and everyone audiences and critics alike were taking notice.

The Essential Thelonious Monk (Columbia Records, 2CDs)

This technically covers the important works Monk recorded between '62 - '68. It also features some of Monk's finest groups (Charlie Rouse, Frank Dunlop, Butch Warren, Ben Riley) in phenomenal form. The collection includes live recordings, solo work and Monk's adventures into large ensembles. The Essential Thelonious Monk also includes versions of my favourite Monk pieces "Well You Needn't." and "Straight No Chaser". Monk was "on top of the world" at this point but also critically scrutinized. I guess that's part of genius and success. At this point Monk was on the cover of Time magazine and producing records of real quality and distinction (the aforementioned Criss Cross and It's Monk Time).

Many of you may already have one or two of these collections but for those who don't these three compilations would probably give you the best overview of Thelonious Monk you could have (outside of the individual albums and expensive boxed sets). But don't forget there are a treasure trove of live albums which highlight Monk's ability as entertainer, leader and great thinker that are worth seeking out. We have written about on the blog before as well. I hope that you get a chance to purchase any of the above records. You won't be disappointed. And here's to the live of one the great musicians ever. Happy Birthday Monk!

Mary Halvorson

Mary Halvorson (guitar)

So I have a problem. I'm addicted to music. When I getting into an artist (or someone turns me on to a new artist/group) I end up throwing my chips all in. Meaning I end up on the long excitable and excruciating journey of trying to find everything that artist has recorded (or played on). That is what is happening now with a great new talent from New York, Mary Halvorson.

Mary Halvorson guitar work is well known inside the free jazz scene as a result of her association and performances with the legendary Anthony Braxton (sax), Elliot Sharp (guitar) and with Marc Ribot (guitar). She has also recorded and performed with Matana Roberts, Tom Rainey, Ingrid Laubrock, Jessica Pavone among others in the NY scene. Her style might be a combination of Marc Ribot, James Blood Ulmer, Thruston Moore (of Sonic Youth) and Joe Morris. In short, she's fucking amazing! Halvorson's playing is gentle and fluid but you can feel the harder edge she gives the material. It's owes more to indie-rock than jazz at times. But that is also what sets her apart from her contemporaries and mentors--a fresh, bright harder edge. It is something different that we haven't heard in a long time.

Mary Halvorson has recorded on over 25 albums but only twice as leader. The first album, Dragon's Head (Firehouse 12 Records; 2008), is an invigorating and audacious work showcasing her diverse skill as composer and performer. The work of her regular trio consisting of Ches Smith (drums) and John Hebert (bass) is dazzling. "Momentary Lapse" and "Sweeter Than You" both illustrate Halvorson's ability to construct a stop/start world of soundscapes with moments of sweet emotion and relentless frenetic pace that keep the you on edge throughout the recording.

The title track starts with Ches Smith whipping through a fierce solo before Halvorson quietly joins in and the two deliver a scintillating tet-a-tet that is augmented slightly with John Hebert quietly underneath. Dragon's Head closes with an post jazz/indie-rock curler of "April April May", a tune that Halvorson shifts patterns dramatically but inventively--all the while still managing to be intriguing. Dragon's Head, while not being her debut recording, still delivers a sculpture well shaped in composition and harmonics that make it truly unique, original and far superior than most of her contemporaries today.

Saturn Sings (Firehouse 12 Records; 2010) finds the same trio now expanded into a quintet with Jon Irabagon on sax and Jonathan Finlayson on trumpet. This adds a little more body and rhythm to some of the recordings. But it doesn't interfere with free flowing atmosphere of the original group. In fact I think it gives the musicians more strength and room to breath or expand on different themes. Halvorson is still the leader but allows the band to do some of the talking as on "Mile High Like" which Irabagon, Finlayson and Smith rip through notes while Halvorson's floats above and sometimes just underneath the rhythm. This is one the best examples of how this quintet melds together beautifully throughout Saturn Sings.

"Crack In Sky" and more importantly "Moon Traps In Seven Rings" are almost ballad-esque, with a loose abstract construction from Halvorson. Finlayson is the standout on "Moon Traps In Seven Rings" until about two thirds of the way in when Halvorson takes a Marc Ribot like solo and the group returns to the original melody. This is a great piece of writing. "Crack In Sky" sees Irabagon and Halvorson interplay beautifully--displaying Mary Halvorson can combine tradition and avant garde into something magical (similar to her mentor Anthony Braxton).

"Sea Seizure" again expresses the more indie-rock leaning side of Halvorson. It's a groove-laden track with aggression and agitation that could sit alongside anything Sonic Youth or Praxis could write. The title track, "Saturn Sings" opens with marching order-like quality led by Halvorson and Smith, only to return to a wonderful group dynamic played out by the rhythm section. Saturn Sings is an album that is another step up for Mary Halvorson in song writing, leadership and performance.

I have to say it again--I'm glad I was turned on to Mary Halvorson (by the guys at Downtown Music Gallery by the way). It has been a revelation. Her playing is devastating and really marks the coming of a true talent on the scene. Still impossible to believe that out of all the albums she has recorded on, these are the only two in which she is truly the leader. But I am now in search of everything. A bad addiction but its worth every spin of the disc. Hope you get addicted to Mary Halvorson too.