Mitch Kessler: Der Erlkonig

Mitch Kessler (sax, flute)

Der Erlkonig (Sun Jump Records)

John Esposito (piano)

Peter O'Brien (drums)
Ira Coleman (bass)

Working with longtime friends and fellow upstate NY musicians The John Esposito Trio, Mitch Kessler has produced a marvelous second album, Der Erlkonig (The ElfKing) (Sun Jump Records) which somehow surpasses his debut Erratica (Sun Jump Records; 2009). This is a spiritual/free jazz outing in the vein and quality of Pharoah Sanders, Eric Dolphy and Alice Coltrane; or even the soulful elements of Detroit's Tribe which featured Phil Ranelin, Marcus Belgrave and others.

Der Erlkonig, a poem written by Johann Wolfgan Von Goethe tells the story of young boy who is killed by a mysterious being while riding home with his father on horseback. It's is dark and unsettling story that leaves a lot to the imagination. Here Kessler has made the piece more haunting by delivering the poem in its traditional German. The performances "Der Erlkonig" are spectacular. The opening bassline from Coleman suggests a beat generation like journey over the next 70 minutes. And it delivers. The quartet are smokin' and make the haunting tale seem more like a journey of a higher order.

"Indo Eurasian Folksong" has all the elements of A Love Supreme-Acknowledgement with an added level of urgency. The timing and interaction between the quartet tells you that while they've only recorded a small amount of material together they are still tight and rhythmically adventurous. The floating hypnotic nature of Kessler's flute combined with Coleman's addictive bassline just underneath is sublime.

"Non Sequitur" bursts through with some wonderful improvisational exchanges between Kessler and Esposito. Coleman and O'Brien are not to be outdone as they emerge midway with an excellent yet delicate exchange that leads to a lovely closing.

"Vietnamese Waltz" closes out this session and it's a blisteringly beautiful track with excellent solo work from each musician. Kessler's playing is far-reaching, exploratory and touching all in a matter of nine minutes. This is great stuff, people.

For me, Kessler's compositions are an interesting and intricate balance of the latter works of both Coltrane's (John and Alice) and Monk. With only his second release, Der Erlkonig, Mitch Kessler has estabished himself as a soon to be dominate talent on the scene if he continues with this type of consistently strong and creative output. Mitch Kessler is an undiscovered treasure and more than worth the purchase (You can find it at Downtown Music Gallery). Enjoy.

Miles Davis Live

Miles Davis (trumpet)
Bitches Brew Live (Columbia/Legacy; 2011)
Chick Corea (electric piano)
Jack DeJonette (drums)
Dave Holland (bass)
Gary Bartz (sax)
Keith Jarrett (organ)
Airto Moreira (percussion)

Well, its always easy to talk about Miles Davis here at JazzWrap, this week sees the release of another Miles Davis document--Bitches Brew Live (Columbia/Legacy). While there is a plethora of live Miles material out there, its probably pretty tough to decide what to get. There are definitely some excellent "unofficial" live albums available--particularly from the Lone Hill and Gambit labels which if you find them--buy them. But you should put Bitches Brew on your list of Miles albums to pick up because it ranks up there as one of the best Miles live albums out there "official" and "unofficial".

Bitches Brew Live contains two dates, one prior to the release of the seminal album and one during the following summer (July 1969 and August 1970). This set is different than last years Bitches Brew deluxe edition which included a live disc recorded in Copenhagen. Bitches Brew Live features material from the Newport Jazz Festival and the legendary Isle of Wight Festival. The Newport set only features a quartet including Chick Corea (electric piano), Dave Holland (bass) and Jack DeJohnette (drums). Wayne Shorter (sax) was supposed to make up a quintet but according to the story he was stuck in traffic on the way to gig.

The performance here is incredible to hear with just Miles as the horn sections along with funky, swirling and psychedelic rhythm section. They plow through a brief ten minute version of "Miles Runs The Voodoo Down" in addition to the "Sanctuary," and "Its About Time", all with fierce accuracy. This was only a few weeks before Miles would go into the studio with his full twelve piece ensemble to record the groundbreaking album.

The second set recorded in the following summer after the release features that ensemble. This was kind of like Dylan going electric. While Miles had already starting thinking and utilizing electric in his performances this was sort of the coming out party that would make the ultimate statement to his current and new found audiences. Right from the start with "Directions" and "Bitches Brew" Miles and company get to the point that this was going to be a funky, raucous and adventurous affair. This version of "Bitches Brew" flows through some lovely Far East spiritual moments midway through that for me make it one of the highlights of that touring period. "Spanish Key" was always a soulful piece but the solo work from Gary Bartz on sax and how he leads the group is unbelievable. This becomes full throttle when Miles joins back in towards the end.

The rock influence shows definitely explodes during this concert and that makes Bitches Brew Live well worth picking up. Unlike the later live albums Miles would record during the 70s this year of show is probably the most focused and cohesive even for the non-Miles-fusion era fan. A real treat for everyone listening.

Further Recommended Miles Live Albums

Live at Pasadena Civic Auditorium '56 (second disc of Round Midnight deluxe edition on Columbia/Legacy)
Live In Stockholm '60 (With Sonny Stitt and John Coltrane on Dragon Records)
At Carnegie Hall '61 (Columbia/Legacy)
Live In Berlin '64 (Columbia/Legacy)
Winter In Europe '67 (Gambit)
In Concert at Philharmonic Hall '72 (Columbia/Legacy)
Agharta '75 (Columbia/Legacy)
Live In Poland '83 (Gambit)
Live At Montreux ,91 (Warners)

Jake Fryer: In Good Company

Jake Fryer (sax)
In Good Company (Capri Records; 2011)

Bud Shank (alto sax)
Bob Magnusson (bass)
Joe La Barbera (drums)
Mike Wofford (piano)

Jake Fryer is already an accomplished saxophonist on the British scene. Working and leading four different groups including this collaboration with the legendary Bud Shank, Fryer has always shown a deep respect for Bebop and displays his talent amazingly well. This pairing of legend/mentor and student if you will is perfect blend of past, present and future. There is really no where for the listener to find objections with In Good Company.

Recorded unfortunately hours before Bud Shank's passing, In Good Company is a bright, affectionate outing that brims with energy and joy. Predominately containing original material from Jake Fryer, in particular, the lovely "Agnieszka" in which Fryer shows some touching and relaxed phrasing on alto. The addition of Shank's full rhythm section is an adding bonus for the listener as well. Mike Wofford, a longtime member of Shank's band delivers some unbelievable work throughout this recording but for me "Agnieszka" packs the loveliest of punches.

"Bopping With Bud" is an obvious but respectful tribute to the legend. The tone and tete-a-tete that Shank and Fryer share is superb. Bud Shank's delivery is tight and thin tone but with the voice of distinction. Fryer displays a bold, round sound that surrounds proceeding. There is real reverence here but also a great deal of playfulness that is exciting to hear.

The standards "Almost Like Falling In Love" and the perennial "Caravan" both display a sense of romance and vibrancy that make In Good Company a compelling and energetic session. "Speak Low" a Kurt Weil classic, boils over with Bebop vigour. While Fryer and Shank are delightful in their exchanges, Wofford, Magnusson and La Barbera are really smokin' with urgency.

Jake Fryer's dream of performing with one of his heroes was fulfilled with In Good Company. But it is we the listener who are honoured with a wonderful document of a legend and a beautiful vision of the future of Jake Fryer.

Lars Fiil Kvartet: Reconsideration

Lars Fiil Kvartet
Reconsideration

Lars Fiil (piano)
Jens Mikkel Madsen (bass)
Lis Kruse (sax)
Andreas Skamby (drums)

So I've been eagerly awaiting the album that would knock my ears off at the beginning of 2011. And I think I've found it. Danish quartet, Lars Fiil Kvartet led by pianist Lars Fiil, saxophonist Lis Kruse, bassist Jens Mikkel Madsen and drummer Andreas Skamby. Their debut album Reconsideration, is a sublime piece of work.

In the same manner which Dave Stapleton's Between The Lines was both British jazz and beyond British--Lars Fiil has created a document filled with original material that is clearly post modern and European. But Reconsideration aims much higher and beyond many of it's Scandinavian counterparts.

Reconsideration is thoughtful, respectful of its influences (so much so, it's sometimes it hard to find) and improvising when necessary. "Reconsideration" is a beautiful opening number that is reminiscent of the quieter moments of the great Esbjorn Svensson and Tord Gustofsson pieces but things really set fire on the next track. "The Opener" moves from forceful hard bop to groove-laden melodic harmonics without missing a beat. Fiil's playing is truly impressive. I don't know if McCoy Tyner was an influence but for me there are shades--more so in the calmer moments on Reconsideration.

The performances from the rest of the quartet should not be understated. This is demonstrated excellently on "After..." in which Kruse, Skamby and Madsen share some emotional passages before Fiil comes in to round out the sound. The band then jump headlong with steam into some improvised but well structured movements before Kruse and Fiil bringing everything to gentle conclusion.

The full stretch moment is "Xenophobiaphobia", a jumpin' piece that I think Monk would be proud of. Fiil's playing is rich, spirited and challenge when it needs to be. Lars Fiil has a voice and character that far surpasses this debut.

Reconsideration is impressive from start to finish. An album filled with all original material played at a high level and well crafted and delivered by each individual member. Lars Fiil has delivered the first great record of 2011 and I believe we will be talking about this album again as part of our Best Albums Of 2011 in twelve months. Reconsideration is Highly Recommended.