John McNeil/Bill McHenry: Keeping Tradition

John McNeil/Bill McHenry (trumpet/sax)

Chill Morn He Climb Jenny (Sunnyside Records)

Joe Martin (bass)

Jochen Ruecket (drums)

This is a bloody brilliant record. I wish I had heard about this a few weeks ago, it would have made of Best Albums Of 2010.

Chill Morn He Climb Jenny is the follow up to the duo's previous quartet effort, Rediscovery (Sunnyside; 2008). Both albums explore compositions written by largely unheralded jazz musicians of the past. The genesis for both these sessions came out of live performances over the last few years. On Chill Morn... McNeil and McHenry re-imagine with ease and beauty numbers from Russ Freeman, Thad Jones and one of my all-time favourites, Wilbur Harden.

The lineup is the same as Rediscovery, with Rueckert and Martin bringing in the rhythm. McNeil and McHenry compliment each other very well. They share duties and intermingle these tunes with traditional reverence. "Three And One" (originally written by Thad Jones) is an excellent display of the quartet's hard bop sensibilities. It rolls and rumbles with each member having an opportunity shine. Joe Martin's subtle movement along the scales is quiet but resonates just underneath. Jochen Ruecket drum work keeps the rhythm flowing freely throughout. The interplay between McNeil and McHenry is really something for the listener to key in on. This is a tight and at time blistering performance, especially when McHenry sets off on a solo midway through.

"Wells Fargo", a classic piece of hard bop written by Wilbur Harden (and originally featuring John Coltrane) is a magnificent tribute. This is a track you probably wouldn't hear that often. Harden is definitely a forgotten figure who really needs to be reexamined by the jazz community.

At times you really do feel like you fallen by into a late '50s - 60s jazz club and are setting listening to one killer performance after another. That is highlighted again on the Russ Freeman piece "Bea's Flat" a smokin' piece where the band rip through a series of chord changes and rhythms that will leave you quite astounded. The album closes with will a great but unfortunately short rendition of Mile Davis' "No Blues". It goes for a slightly different tone than the original and feels like an appropriate way to close out this sizzlin' outing.

Chill Morn He Climb Jenny is a great homage to some well deserved and truly underrated hard bop figures. It's an album that really should appeal to everyone. An album built on tradition but exudes a modern style that is a must listen for sure.

Rodrigo Amado

Rodrigo Amado (sax; b. 1964)

Searching For Adam (Not Two Records; 2010)

The multi-talented Rodrigo Amado was responsible for one of my favourite jazz labels, Clean Feed (co-founding member) and now running his own label European Echoes.

But he is also an accomplished photographer and highly creative and challenging spirit in the free jazz arena. His style is clear, vibrant, adventurous and soaring. For me shades of Pharoah Sanders, Sam Rivers and Ornette Coleman surround his music.

But while this improvising spirit stretches across the spectrum, the listener actually gets the unique experience of song structure that may not have been a predetermined result. Amado is working in a similar arena that can only be possessed by fellow improvisers Ken Vandermark (Vandermark 5) and Mats Gustafsson (The Thing).

Amado has six album as leader, working in trio and quartet formats but also in standard setting as well as string based outfits. In addition to collective work with his band, Lisbon Improvisation Players and guest works with the likes of Luis Lopes and Dennis Gonzalez.

Two records that I highly recommend are a trio session he recently did with Paal Nilsson Love (drums) and Kent Kessler (bass), The Abstract Truth (European Echoes; 2009) and Teatro (European Echoes; 2006). Both are provide an excellent balance between avant garde and modern structure. The interplay between three is highly rewarding for the listener.

Amado's most recent release, Searching For Adam (Not Two Records; 2010) is phenomenal. Featuring the stellar lineup of Taylor Ho Bynum (cornet/flugelhorn), Gerald Cleaver (drums) and John Hebert (bass), Amado has created the perfect work built out of improvised vision and dynamic European moods, creating a beautiful causal structure.

Searching For Adam is an album that moves through abstract aggression and delicate time changes that appear at the precisely the right moments throughout this session.

While being the longest piece on the album, "Waiting For Andy" is also the most touching and exploratory. The interplay between Bynum and Amado is lovely to experience. Moving up and down the scale with fierce attraction. "Newman's Informer" features some impressive time keeping from Cleaver (someone who I believe is criminally under-rated) and Amado has moments of Shepp and Ware spinning throughout.

On "Renee, Lost In Music", John Hebert begins with delicately stroking the chords for Amado to then join in on a light but richly free flowing piece that exploits the best phrases from Amado. "4th Avenue, Adam's Block" has swathes of Atlantic era Coltrane. A real bold well structured piece that again shines light on the brilliant musicianship of Rodrigo Amado.

Similar to my obsession with Mary Halvorson after I picked up Dragon's Head, I became obsessed with Rodrigo Amado's work. In the last few weeks I have managed to buy (yes, I did buy them) all of his work as leader. I'm hoping to find a chance to tell everyone about them soon.

As for today, I think if you are familiar with Ken Vandermark, Keefe Jackson, Mats Gustafsson, I highly recommend you check Searching For Adam. An album that is truly deserving of a wider listen from us all.

JazzWrap Break

Hi everyone. Taking a small break to rechange our brains. We will return on Wednesday, January 12th.

In Honour Of Mick Karn

Mick Karn (bass, multi-instrumentalist; b. 1958)

The Concrete Twin (MK Music)

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.