Jazz Soundtracks: The Green Hornet

The Green Hornet (Extra Special Edition)
Billy May
Harkit Records

Originally a radio show, The Green Hornet made the transition to TV in the wake of the super successful Batman series. The Green Hornet only lasted one season ('66), it launched Bruce Lee's career and features the swinging sounds of big band legend Billy May.

To create the signature theme music May worked closely with trumpeter Al Hirt, adapting Rimsky-Korsakov's "Flight of the Bumblebee." The relentless pace is perfect for the action-packed show. Naturally, the track is very brassy, but the sonorities have an otherworldly perhaps Oriental tonality that may come from harmonicas or muted brass.

Other action-oriented tracks include the crime jazz pounder "Horneted House," the blistering "Activate the Scanner" and "Kato," an Oriental blues swinger. More woozy brass and strange sonorities are prevalent on the lounge number "Four Hornets." Other tracks, like "Casey," "Do the Hornet" and "Black Beauty" are pleasant enough, but are conventional in comparison to the aforementioned highlights.

The Green Hornet soundtrack has appeared on CD courtesy of RFO in the U.S. and Max and JBXL in Japan. Harkit's first version, released a few years ago, contained much of the core material — 11 tracks with little thematic repetition.

The "extra special edition" reviewed here adds several bonus tracks, including Al Hirt's hit single of the theme and versions of "Flight of the Bumble Bee," which was used for the original radio show. In addition, there is an excerpt from a '40s radio show and a complete specially adapted '60s radio show episode. The bonus tracks round out the original program nicely, adding conceptual depth and listening pleasure.

Harkit has done a good job with the liner notes, explaining the show's place in history and May's reputation as one of Frank Sinatra's main men. Still, a bit more info about the recording sessions might have explained some of the stranger sounds here. Speaking of sound, it's a little rough, as if taken from LP. Granted, there are no annoying surface defects, so presumably an effort was made to clean it up as much as possible.





Oh, and the upcoming movie looks really cheesy.

King Capisce: A New UK Avant Garde

King Capisce (group; formed 2008)
King Capisce (KC Records)

Tim Feben (guitar)
Richard Harrison (sax)
Alex Baker (sax)
Roshan Lal (bass)
Tom Ashfield (drums)

The self titled debut from this Sheffield quintet King Capisce a refreshing reminder that the UK jazz scene is has many influences and allot to offer. Unsigned King Capisce have been on the UK touring circuit for only short time but have built up a decent following and their debut shows great strength in depth and vision.

This is a harder edge mixture of prog, psychedelia and free jazz. While current favourites, Polar Bear, Acoustic Ladyland and Troyka may come to mind, King Capisce are definitely making a case and carving out a space that might well be all their own in the future.

The album begins with the frightening beauty of "Cheer Up Cyclops" which start with Roshan Lal's funky bass line and then blast head first into an exchange of potent ideas both gentle and frenetic. "Cheer Up Cyclops" almost sums up the album in seven minutes (but wait there's more)--a bright piece of psychedelia and free jazz. It got me thinking, what if Ornette Coleman joined King Crimson on stage for one night? (Actually that could still happen.)

The battle of duelling saxophones and the blistering guitar work makes for some heavy listening at times but I think everyone with a sense of rock and jazz will enjoy King Capisce for different reasons. That battle continues on "The Sharp Edge", a mountain of a piece that delivers some complex melodies within changing environment. "The Sharp Edge' moves quickly from gently structure chords to funk patterns to improvised chaos.

"Between Teeth" gives this session a blues-rock injection with some wonderfully shifting work by Tim Feben on guitar. "Between Teeth" builds to high climax as the rest of the quintet join in a Philip Glass-esque arpeggio. "Boundless" closes things out with a mid-tempo delivery but just the right amount delicate aggression to remind the listener why this debut is so impressive.

A solid premiere for the Sheffield quintet that sparkles with ideas and strong musicianship. King Capisce is a band worth watching over the next couple of years. This is definitely the shape of jazz to come and let's hope they become talked about in the circles as the aforementioned UK outfits sooner rather later. Highly Recommended.

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.