Ken Thomson: It Would Be Easier If

Ken Thomson (bass clarinet, alto sax)
It Would Be Easier If (Intuition Records)
Russ Johnson (trumpet)
Nir Felder (guitar)
Adam Armstrong (bass)
Fred Kennedy (drums)

It Would Be Easier If is a clear, inventive yet diverse record from a mainstay on the New York scene, Ken Thomson. A co-founder of the avant garde jazz/rock band Gutbucket and collaborator with the versatile Bang On A Can, Thomson present an incredible debut as leader with elements of classical, free jazz and rock even paced throughout It Would Be Easier If.

This is an album that I think a lot of people will find different parts to like. There are moments of Gutbucket, Praxis, John Zorn's Painkiller that make for electrifying listening. But then just as firecracker of this music ignites you get a taste of Thomson's excellent jazz and chamber music arrangements.

Opening with the bewitchingly intricate "Kleine Helmet", with some outstanding delivery from Russ Johnson on trumpet and Thomson on bass clarinet. "Kleine Helmet" is beautiful example of the album as a whole. It is gentle throughout but encases some extraordinary arrangements that swing both in the direction of small group classical settings and free floating jazz conceptional thought.

"Goddamn You Ice Cream Truck" cuts against the grain of the It Would Be Easier If with Thomson bringing his Gutbucket inspirations into the proceedings. "Goddamn You Ice Cream Truck" is a fun and boisterous experience with Nir Felder's fiery, improvised chord changes augmented by the bombastic interplay between the rest of the members of the quintet--sonic bliss indeed.

With "Goddamn..." being the propulsive center point, the rest of the session is a more introspective and balance affair. "No, No, No" is the albums warmest moment. Led by some beautiful drumless electronic work from Fred Kennedy and fuzzy atmospheric guitar on the part of Felder this piece transforms into a wonderful meditative statement.

"No, No, No" then opens up to "Wanderangst" which finds its rhythm midway through and the sizzling syncopation that the quintet performs especially Thomson on clarinet is absolutely phenomenal. The compositional elements on "Wanderangst" are extremely refreshing.

The album closes with the title track, a slow progression but bold in nature. It again features some stellar interplay between Johnson and Thomson.

It Would Be Easier If is fantastic combination of Ken Thomson well structured chamber arrangements and superiour improvisation on the part of each member of the ensemble. It's great to see Thomson finally put all his thoughts and influences into one place and no better way than on his debut. It Would Be Easier If is an impressive work for an artist and composer that I hope will record more as leader and someone you should most certainly check out. I really love this record.

Eivind Aarset: The Sonic Sound

Eivind Aarset (guitar; b. 1961)
(Photo: nomo/michael hoefner)

With a combination of Brian Eno's ambient creations and Miles Davis' fusion era explorations, guitarist, Eivind Aarset has created a futurist realm for the jazz guitarist. Hailing from Norway, Eivind Aarset had performed with numerous Norwegian musicians--really coming to prominence through his work with Nils Petter Molvaer, Sidsel Endrensen and Bugge Wesseltoft to name a few. His recordings are a modern fusion of jazz and electronics. Melodic in nature but with enough emotionally craftiness that his instrumental voice standouts amongst the layers of electronics.

 

Eivind Aarset's albums are awash of electronics all the while emitting subtle harmonics and ethereal grooves that sometimes can be reminiscent of fellow guitar experimentalists, Michael Brook and David Torn. Aarset has four albums to date. Each one building on the rugged guitar movements and sparse electronic density with enchanting effects.

My favourite album would be his third album, Connected (Jazzland Records). Connected fulfills the promise of his debut, Electronique Noire and its successor, Light Extracts with swathes of acoustic, electronic and forward thinking results. Connected features excellent vocal contributions from Dhafer Youssef and wonderful interplay with saxophonist, Hans Ulrik as well as the rest the band.

 
This is a session that not only builds a soundscape conjuring up other worldly images but as illustrates Aarset's ability to create pathway and vision for jazz guitarists to follow. Songs like "Silk Worm", " Electromagnetic In E," and "Transmission" standout as signpost of musician who is thinking on a completely different level than his contemporaries.

Eivind Aarset's most recent release Live Extracts is an altogether different experience. It's brings the creativity of the studio into raw, emotional and improvised live setting.

Live Extracts follows Aarset's touring band Sonic Codex Orchestra in support of his fourth album Sonic Codex. This octet is really amazing and the sound world they create invokes the aforementioned guitarists but also Aarset's work shift between electronic adventure and jazz improvisation. Covering mainly pieces from Sonic Codex and Connected, Live Extracts is well focused live album with some bright moments like "Electromagnetic"--a piece that expands around Aarset's distorted and monstrous chords and pounding rhythms from Audun Erlien (bass), Wetle Holte and Erland Daahlen (both on drums).

"Drobak Saray" a beautiful track from Sonic Codex that here is even more raw, with waves expression from Aarset and heavy mood displacement from Erlien. The track then builds into a cavalcade of grand rock movement.

"Murky Seven" is the shortest track on the album but delivers a nice experimental vibe with Aarset's mild picking and some lovely percussion work from Dahlen. This folds directly into an assault on sound that is "Sign Of Seven" with features a magnificent performance from Hakon Kornstad (sax). This is also probably the closest moment Aarset comes to Live Evil/Dark Magus period of Miles Davis as the piece builds layer upon layer of sound to complete all-stop.

Live Extracts closes appropriately with "Bla Meis", a slow moving ballad with what feel to me like gentle Americana undertones. "Bla Meis" quietly slides and fades away leaving the listener with a pleasant emotional live experience.

Aarset's playing is always bold but never overpowering or used to make some over-produced statement. I think Connected and Live Extracts are the prefect companions and introductory pieces for anyone looking at getting into Eivind Aarset--one of the best jazz guitarist coming out of Norway at the moment.

Exploding Star Orchestra: Stars Have Shapes

Exploding Star Orchestra
Stars Have Shapes (Delmark; 2010)
Rob Mazurek (cornet, electronics) Matt Bauder (clarinet, sax)
Jeb Bishop (trombone) Jason Stein (bass clarinet)
Nicole Mitchell (flute, voice) Jason Adasiewicz (vibes)
Greg Ward (sax) Matthew Lux (bass)
Josh Abrams (bass) John Herndon (drums)
Mike Reed (drums) Damon Locks (word rocker)

Exploding Star Orchestra is a rotating ensemble led by cornetist Rob Mazurek, a free jazz fixture on the Chicago scene. ESO is one of many groups Mazurek heads up including The Chicago Underground Trio/Quartet, The Chicago Underground Orchestra, Isotope 217, Tigersmilk and the Rob Mazurek Quintet. Stars Have Shapes is an album I couldn't put back on the shelf. Each day for two weeks I would stop and think about one of the songs and remember a passage that I had to hear again. I kept thinking to myself, "wait a minute, there's something else going on here."

Stars Have Shapes builds on the previous efforts of ESO "We Are All From Somewhere" and two self titled albums featuring the late Bill Dixon. Each of these albums circles around the slow ascension of found sounds. In the case of Stars Have Shapes it is rain from the the Amazon, various field recordings and sound manipulation of basic woodwind instruments. The comparisons to the latter material of Coltrane (especially his epic "Ascension"), Sun Ra and even the Detroit collective led Phil Ranelin, The Tribe, are right in discussing. But these legends are only the foundation on the which Stars And Shapes might use to catapult into the stratosphere.

Opening with the episodic journey "Ascension Ghost Impression #2, for me reminiscent of the larger ensemble pieces of Alice and John Coltrane, Mazurek states the case that outing is clearly spiritual trip inward for the listener. Mazurek took the listener on a similar path with "Cosmic Tomes For Sleep Walking Lovers" from the We Ar All From Somewhere. It's a piece that builds and moves through hypnotic and caustic with relative ease. As I mentioned the piece is lengthy (20 minutes) but you quickly get swallowed by wonderful world Mazurek and the musicians have built that you never notice the songs length until you move into the more groove laden beat of "ChromoRocker."

"ChromoRocker" is the shortest piece on Stars Have Shapes but is has beat led by Jason Adasieicz (vibes) and Josh Abrams (bass), two other Chicago stalwarts, that's fast paced, exploratory and shifting in melody.

"Three Blocks Of Light" is the second long player on this never ending journey. It's patterns are a more electronic and densely focused with the ensemble setting a more ethereal tone throughout. There are muted trumpets, tone pitches, insect noises and other manipulated reconstructions are making for some highly inventive listening.

The final piece "Impression #1" is slightly more structure with delicate pulsating touches from Adasiewicz and some rich playing from the horn section. It's a slow moving ballad. Almost gospel like in nature but with a very cerebral tone.

Mazurek's writing and direction on throughout this piece and the entire recording is teeming with originality and diversity. Mazurek dedicates the Stars Have Shapes to Bill Dixon and Fred Anderson, two of the most important avant garde icons to the Chicago scene. Rob Mazurek has turned Exploding Star Orchestrea into one of the most innovative and dynamic avant garde collectives of the new century. And I think both Anderson and Dixon would be extremely proud.

Supersilent

Supersilent (group; formed 1997)
10 (Rune Gramoffon; 2010)
Arve Henriksen (trumpet, electronics, drums)

Helge Sten (guitars, electronics)

Ståle Storløkken (keyboards)

With the departure of Jarle Vespestad on drums many fans didn't know what to expect from the always excellent Norweigan powerhouse, Supersilent. What we get is Supersilent 10--the most realized, acoustic and personal Supersilent album to date. I have always recommend Supersilent 6 as the first album to go towards but I think I may have change that thought.

10 has the architecture of a good Throbbing Gristle date mixed with best motifs from Harold Budd and Brian Eno. The performances by Stolokken, Sten and Henriksen are absolutely brilliant. As with each Supersilent album the tracks don't have names on numbers.

Openning on the usual atmospheric note and then flowing into more dense pastures "10.2" and "10.3" both shine brightly with the electronic effects from Sten but also the acoustic work of Storlokken on piano and Heriksen's muted spaced outed trumpet are amazing. "10.5" sounds like something that could easily fit on Throbbing Gristle's D.O.A.: Third And Final Report album. Dense, chilling stuff.

With the exploratory journey of "10.6" which feels like some of the moments of Harold Budd or Michael Brook and Jon Hassell. It's is poignant track that shows how this group has grown over the last 13 years. 10 is not a silent ambient trip or a roller coaster into white noise. It is much more than that. Storlokken is pushed into the front more on this album than ever before. His performance on gentle patterns on "10.7" are a loving lullaby that highlighted even more by Henriksen's delightful lyricism that flies along side Sorlokken on grand piano.

On "10.8" Henrikensen shows a similar understanding on liner patterns and ethereal beauty that could rival Jon Hassell. "10.9" is a fiercely atmospheric heavy piece driven by electronics which feels like Budd meeting T.G. in a cafe for a lively discussion of sound.

"10.12" closes the session in the exact manner it began--an adventurous, heavy journey into soundscapes that draws you in and doesn't really let go. It's a haunting piece driven by Storlokken's pounding keys and some electronic manipulation by Sten and Henriksen that is truly beauty in its conception.

Having had the pleasure and honour of seeing them live I can honestly say 10 is for me, without a doubt, the first time Supersilent have really stretched out in their vision and scope. These are heavy yet beauty stories told in just under an hour. Why this group hasn't seen wider recognition across the globe is bewildering me. This is the stuff landmark records are made of.

(Video footage: Supersilent 7 (Live DVD))