John Esposito: Orisha

John Esposito (piano; b. 1953)

Orisha (Sun Jump Records; 2010)

Ira Coleman (bass)

Peter O'Brien (drums)

It looks like tradition is running wild at JazzWrap this week.

New York native, John Esposito has been on the scene for over three decades. He has worked with a variety of jazz artists including Dave Douglas, Ryan Kisor, Dave Holland and Sam Rivers among others. He has a style that is relaxed but also complexed. There is a beautiful side to his compositions that reminds me of the craftier moments of Bill Charlap or Blue Note era Herbie Hancock.

He has played in a variety of contexts but the two albums that have always drawn my attention are his trio dates. The latest, Orisha (Sun Jump Records) is a wonderful collection of originals (unlike the previous release Down Blue Marlin Road, which heavily featured standards and originals) that are joyous and jumpin'.

While Esposito is the leader on this date, this is definitely a group affair. On "Myanmar" the trio move through uptempo and midtempo without hesitation. It's a lovely introspective listen that is emotional effective.

"Fly" written and performed by drummer, Peter O'Brien, while short is nicely and fiercely delivered and moves quickly into "Stygian Bright", a multi-patterned piece with some nice chordal changes by Esposito. "Personal Blues" while based on a blues structure doesn't move in a blues fashion. This is a fast paced number that delivers a night club feel that you are bound to find intoxicating.

Orisha is a stellar collection of high spirited originals performed by a trio that while not playing regularly, demonstrates years of experience of which they all hold, rolled up into just over an hour of marvelous listening.

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.