I titled this piece "Enough Said" because I have a feeling that many of you who read this blog are fully aware of Mick Karn. After Jaco Pastorius, Mick Karn is probably the most distinctive bass player of the last 35 years. And he has done this by never actually learning how to read music. Some people just have that creative ability in them. Not yours truly. I can't read or play an instrument with any skill whatsoever.
Mick Karn's style on the bass (specifically fretless bass) is something you truly can't believe when you first hear it. It's like an oboe, cello and a upright bass all being folded and manipulated into itself. Truly distinctive and original. Fans of Karn know his playing within seconds of the opening chords.
I will try to keep the history portion of this short.
Like many musicians, as a child, the bass wasn't his first instrument of choice. That credit goes to a variety of instruments (bassoon, violin and mouth organ). But it was shortly after a brief stint playing classical music he hooked up with what become a legendary group (and group of musicians), Japan. Japan included David Sylvian, Richard Barbieri, Steve Jansen (and briefly Rob Dean). Japan's short-lived but highly influential career turned each member into instant legends. The bands ability to craft a blend of atmospherics, East/West aesthetics into a rhythmically accessible language captivated cult audiences around the globe.
Since the unfortunate break up of Japan, Mick Karn has worked with a myriad of talented musicians including, Peter Murphy (Bauhaus), Kate Bush, Midge Ure (Ultravox), David Torn (Lonely Universe, Polytown) and Mark Isham to name a few.
Mick Karn has effortlessly shifted between rock, ambient/electronica, jazz and world. He has built a solid foundation of seven solo albums. All I highly recommend. His latest, Concrete Twin (MK Music) is wonderful work of aural sculpture. It's rich, cinematic, introspective and dense. The production is crisp and enveloping. The majority of the music is as usual played by Karn himself (with additional drum work by Pete Lockett and manipulation by Karn).
While Concrete Twin has its origins in electronics, there is also a deep sense of organics within the tunes. "Ashamed To Be A Part Of Them" opens the album on a similar path as Mick's earliest albums (Dreams Of Reason Produce Monsters and Titles). As usual, Karn's bass is front and center in the mix with a gentle East Asian atmosphere surrounding the piece.
On "Yes, I've Been To France" a bit of Karn's jazz past comes to the front. The cinematic nature of the material with Lonely Universe can be felt. There are moments improvised piano and Fripp-like guitar distortion. Probably not intended but you get a sense Mick is exploring a number of different themes throughout Concrete Twin. Where his last few records have been dominated by dance orientated material.
"Tender Poison" is a beautiful piece stressing the keys and subtle excursions with drum and percussion. Emotional effective yes. But also magnificently crafted. "Vote For Lies" and "Antisocial Again?" both are delicate haunting; with eerie bass lines and treated piano movements that make for an excellent explorations into the soul.
Mick Karn continues to be one of the best bass players in all of music today. But he has become a significant writer over the last ten years as well. His compositions have become more complex and his musicianship continues be exacting. Concrete Twin is by far one his best albums in years.
A few days ago Mick Karn past away due to complications from advanced cancer; so it is even more important that people spread the news of this great and wildly overlooked talent to the wider audiences. If you are a Mick Karn fan buy a Mick Karn CD (physical if possible) and give it to someone you know will enjoy it. The least we can all do is support one of the greatest musician who has brought so much joy and creative music to our lives over the last three decades. If you are just hearing about Mick Karn through this blog--buy Concrete Twin today if you can. You won't be disappointed. Mick we will miss you.
Espen Eriksen Trio You Had Me At Goodbye (Rune Grammofon)
Espen Eriksen (piano) Lars Tormod Jenset (bass) Andreas Bye (drums)
Eriksen and his trio have put forth a delightful debut. You Had Me At Goodbye combines the soft folk, classical jazz of many fellow Scandinavian artists. The trio blend melodic themes and lyrical structures that set a quiet atmospheric mood.
You Had Me At Goodbye is something of a departure for the bands label, Rune Grammofon which has been known for more experimental, free form and abstract concepts from artists like Supersilent, Elephant9, Food, Scorch Trio and Motorpsycho. Eriksen Trio is much more in the vein of ECM recordings than latter.
This is an album that will definitely please listeners looking for something rich and pleasant on the ear. Recent recordings by Kit Downes, fellow Norwegian, Helge Lien also come to mind when I listen to Eriksen. I'm stirring clear of the obvious E.S.T. comments because I really don't see the comparison.
"Grinde" and "Masaka Tsara" display a cleaver bit of adventure with some great interplay between Eriksen and Jenset with Bye and nice brushes of timing. This is a trio with a crisp sound that resonates individually as well as a unit.
"Not Even In Brazil" is the definite standout for me. A rhythmic uptempo number that really shows the dynamics of the trio, especially for Bye. Bye's performance moves from soft to infectious and back again. Eriksen adds some solid movement of his own throughout the piece. Warm, touching and glowing--a beautiful number.
"On The Jar" might be the most distinct track on the album. It has a blues/gospel tinged that moves quite effortlessly with some wonderful bass lines from Jenset.
You Had Me At Goodbye isn't perfect but for those looking for a delightful entry point into late night jazz this is well worth your time. I did enjoy this record allot but there isn't a great deal to make it standout from the other trio records over the last 12 months but you should be the final decision not me.
There were a couple of albums I didn't get a chance to write about in our Best Of 2010 list. More because I was ill for a few days and couldn't put brain to computer to get the words out. These are by no means "honorable mentions". These are fantastic and in some cases (Jason Adasiewicz, Curtis Fuller, Kris Davis and Ricardo Gallo) phenomenal records that are worth every moment hunting down.
Ricardo Gallo Resistencias (Laidstrito Fonica) Kris Davis Good Citzen (Fresh Sounds/New Talent) Brian Eno Small Craft On A Milk Sea (Warp Records) Curtis Fuller I Will Tell Her (Capri Records) Tom Rainey Pool School (Clean Feed Records) Keefe Jackson Seeing You See (Clean Feed Records) Magnus Broo Swedish Wood (Moserobie Music) Jason Adasiewicz Sun Rooms (Delmark)
I discovered a lot of new music this year. This was in part to some great friends, musicians, record labels and other blog writers. I especially wanted to mention my two favourite blogs Minimalistic Music and Jazznyt. Both are a little more avant garde than JazzWrap and provide a different perspective on the global community.
In addition, contributing editor, Kristopher Spencer has the insansely insightful site Scorebabythat discusses soundtrack music from every part of the globe as well as a great book on soundtracks that he wrote a year ago which you must own. I highly recommend you check them all out.
We have enjoyed working with and hearing from everyone and we hope to continue with some great new material in 2011. I hope you dig the music and have discovered some cool stuff. For us its all about turning people on to music that's both accessible and adventurous. As always we want to hear from you as well. So if you have a record you feel would be a great fit for us to know about please let us know.
And we are looking forward to another solid year of adventure in 2011.
Video: Tom Rainey Trio (Tom Rainey, Mary Halvorson and Ingrid Laubrock)From all of us at JazzWrap, thank you.
Dave Stapleton (piano) Between The Lines (Edition Records)
Another surprise album for me this year was from Dave Stapleton, the young but highly accomplished pianist/composer from England and his impressive quintet. Their third album Between The Lines (Edition Records) was one of those consistently rewarding listens throughout the year. I found myself having a new favourite song with every listen.
Stapleton's classical training and a strong dose of Herbie Hancock is apparent throughout Between The Lines. The album starts with the melodic drone of "October Sky" and then really kicks into gear with the funky psychedelic rhythms of "Horn" obviously the focal point for the Bruce and Waghorn, whom both shine brightly on here and throughout Between The Lines. "Horn" is really killer and set a perfect fresh and exciting tone for the rest of the session.
While the rest of the British jazz community is stretching the boundaries of the avant garde, Dave Stapleton is using the tradition and improving upon it. This is really, really compelling stuff from a band that has definitely been together awhile and knows each other inside and out. "Socks First" shows the delicate nature of the band some truly exquisite simpatico as each member features prominently. The titled track, "Between The Lines" starts with some lovely playing by the rhythm section and some understated piano work from Stapleton. A lovely number for those you wishing for a glass of wine with your jazz.
Lots of funky interplay take place on "Wig Wag" between Paula Gardiner (bass), Jonny Bruce (trumpet) and Ben Waghorn (sax) which could be placed along side some of the better moments of Jools Hollands or mid-period Branford Marsalis works. Fun, exuberant exchanges with lots passion built into ever note.
"Under The Cherry Tree" is the band performing a lovely ballad in the vein of Keith Jarrett and Sonny Rollins and moves with great ease taking the album to a wonderful conclusion with "Images" a sparse romantic number highlighting Stapleton's classical tradition on piano and again some great work from Waghorn.
In a year dominated with E.S.T. clones and avant garde creativeness (Not that there's anything wrong with avant garde. That's what JazzWrap is based on for crap sakes.) Between The Lines is a refresh and absorbing release that can be enjoyed on many levels. One of 2010 contemporary masterpieces.
Mick Karn (bass, multi-instrumentalist; b. 1958)
