John Escreet

John Escreet (piano)

Don't Fight The Inevitable (Mythology Records)

Nasheet Waits (drums)

Matt Brewer (bass)

David Binney (sax, electronics)

Ambrose Akinmusire (trumpet)


You know I'm always out on the hunt for pianists who can come close to caliber of my favourites, Jason Moran or Kris Davis. It's very hard to find that kind of forward thinking talent. But recently I stumbled across some great work from Englishmen turned New Yorker, John Escreet. Escrett's new album Don't Fight The Inevitable is a sublime piece of compositional thinking that will leave listeners staggering around trying to figure out what just hit them. That would be a might dose of creativity!

Escreet has only been around for a few years but has quickly made a name for himself stateside in that short time. Originally a member of the British outfit Empirical, John Escreet left the band prior to their first record and moved to New York to study at the Manhattan School of Music. In addition to his studies he also did a number guest musician spots. But it has been his studying and association with the great Jason Moran and Kenny Barron that seems to have had lasting impact on his compositional work. His debut recording, Consequences (Posi-Tone Records; 2008) was an astounding piece of work with mainly original material. The epic opener "The Suite Of Consequence" is reason along for any jazz fan to stand up and take notice.

Don't Fight The Inevitable is a whole step above. Where Consequences was a brilliant intersection of avant garde and post bop craftsmanship, Don't Fight The Inevitable is the work of a musician thinking far beyond the boundaries of the aforementioned sub-genres. His band consisting of David Binney, Ambrose Akinmusire, Matt Brewer and Nasheet Waits utilize some stellar abstract changes and phrasing, especially on "Civilization On Trial" and the title track, which illustrates Escreet has learned a lot from his mentor, Moran over the last few years. But don't be fooled into thinking that Escreet is a clone of Jason Moran. Escreet has quickly developed his own voice that resonates throughout the lengthy eight tracks on this sophomore effort.

"Magic Chemical (For The Future)" is the perfect example of how Escreet can switch gears from the more complex free form work to a more post bop midtempo number with lovely exchanges between Waits, Binney and Escreet. It's beautiful, powerful, arresting and challenging all rolled into twelve minutes. With "Trouble And Activity", Escreet has carved a wonderful piece in which Akinmusire stands high with some arching solos. Escreet's performance is sharp and crisp with real muscle and maturity beyond his 25 years. Another balladry moment is captured in the short but lovely "Gone But Not Forgotten"--a touching number that his mainly Escreet and Binney in duo form.

The album closes on the multi-layered and visceral tone of "Avaricious World" which seems to build and collapse upon itself with various sonic moments. The quintet really move through various patterns and soundscapes on this piece. It sort of encompasses the entire ethos of the album--post modern but circling the outskirts post bop.

Don't Fight The Inevitable is a post modern classic from a young talent that has become an established and revered composer on the scene very quickly. It's challenging music but I think John Escreet should be on JazzWrap readers list of artist to check out sooner rather than later.

Orrin Evans: Captain Black Big Band

Orrin Evans (piano; b. 1975)

Captain Black Big Band (Posi-Tone Records)

As the next generation of jazz musicians get more experience, albums and live performances under their belt, its almost inevitable that they will record a big band record. In recent years we have seen it from Wynton Marsalis, Roy Hargrove, Dave Holland, Nicholas Payton, Joe Lovano and now Orrin Evans. With the Captain Black Big Band though, Orrin Evans has created more of a giant jam session than the Ellington, Basie, Armstrong homage. This is a live recording that is rich and festive in sound as well as collaborative in spirit.

Originally a project developed for live performances at Chris' Jazz Cafe in Philadelphia, Evans combines the talent of young and elder statesmen into a surprisingly cohesive 38 piece ensemble. This live recording was recorded over three separate gigs throughout New York and Philadelphia during 2010. Orrin Evans, who has experience in big bands already as a member with the Mingus Big Band which plays consistently in New York City, put the group together to explore his sometimes complex but always entertaining and stellar arrangements. The name Captain Black comes from the pipe tobacco but also Evans memories as a child and his father, who smoked the Captain Black brand. He also used it for the title of his second album release in 1998 on Criss Cross records.

This big band outing opens on the high spirited note of "Art Of War" (written by drummer and friend, Ralph Peterson) with some great solo work from Rob Landham. Solos throughout this session is something that Evans appears to be committed to. While Evans leads the group, he specifically wants to highlight the talents of individual members on the recording. The vibe on this record is definitely a party atmosphere and that continues with "Inheritance", a piece that vibrates and swings with propulsive solo from Todd Marcus (bass clarinet), whom also arranged the piece. In addition, Walter White (trumpet) and Anwar Marshall (drums) star with powerfully dynamic solo work--especially Marshall towards the end of the piece.

Evans playing is understated on this recording (he also includes two additional pianist, Jim Holton and Neil Podgurski) but you do get a great sense of joy and excitement from these live sessions which particularly puts the listener in the front row of what must have been some really smokin' performances. "Easy Now" (originally from the Evan's 2004 album of the same name) is a somber but expressive piece. This live big band version is gives that melodic ballad a bit more breathe but retains the overall emotional effectiveness of the piece. "Easy Now" does see Evans taking more of a prominent role as his playing in vital to the piece. The solos from Mark Allen on sax and Tatum Greenblatt on trumpet are beautiful and carry a deep emotional resonance. The closing number "Jena 6" is a killer piece. Featuring Jaleel Shaw (sax), who is quickly becoming one of the more explosive saxophonist of the next generation, delivers a blistering statement of intent that should really get wider attention from jazz community.

The Captain Black Big Band really doesn't feel like your average big band session. For as many members included on this date it feels more like a quartet or quintet. Instead of Ellington or Basie you'll reminisce on Blakey and the Jazz Messengers. All the members are in unison and keep the direction and vision of its creator, Orrin Evans, who definitely has sense for structure when its needed and freedom when it demands. The Captain Black Big Band should have huge appeal for everyone.

ASA Trio

ASA Trio (group; formed 2005)

Plays The Music of Thelonious Monk (self produced; 2011)

Anders Thor (guitar)

Scott McLemore (drums)

Agnar Mar Magnusson (organ)

It's a funky kind of weekend. I thought it might be appropriate to wait till now to spring this killer new record on everybody. I'm really glad the group and I stumbled upon each other in cyberspace here. I got a copy of ASA Trio's latest album, Plays The Music Of Thelonious Monk and was very intrigued by the idea of an organ based trio doing Monk tunes. I have fallen in love with this Icelandic band over the last few weeks and I think everybody seriously needs to check them out.

Now dedicated organ trios are nothing new in the jazz history. What makes ASA Trio standout is they stick to what makes organ trios so satisfying--a deep attention to and understanding of basic instrumentation, blues, funk and jazz harmonics.

ASA Trio are led by Agnar Mar Magnusson (organ) - who's style resembles the great Larry Young -  Anders Thor (guitar), and Scott McLemore (drums). The band started almost by accident. During the Reykjavik Jazz Festival in 2005 there was a band cancellation and this thrust Anders into the spotlight to create a band to perform that day. His two bandmates had performed only briefly in separate incarnations but this performance went off supremely well. And shortly after the band become ASA Trio. The group have recorded two digital only albums previously - A live album, and what is becoming an underground classic, a complete recording of John Coltrane's A Love Supreme. Both albums are available on the band's website and you must check them out. But today our focus is on Plays The Music Of Thelonious Monk.

While there have been plenty of artists that have done Monk inspired albums (Fred Hersch, Wynton Marsalis, Anthony Braxton, Paul Motian, E.S.T., Alexander von Schlippenbach) I don't think any of them would have envisioned a whole album performed by an organ dominated group. Nor would you or they have envisioned it being this exciting, inventive, well played and all around a pleasure to listen to again and again. With most albums of this nature you will see the usual Monk standards "Well You Needn't," "Nutty," and "Epistrophy". But Asa Trio have decided to go in a slightly different direction with minimal Monk standards "Bemsha Swing" and "Straight No Chaser" mixed in with many lesser covered Monk gems.

"Bemsha Swings" opens the album (this was also one of the tracks they first performed at the festival in 2005) beautifully, showing a group that plays within the groove as well as demonstrating a consistent unity among the three. You can feel each instrument throughout this piece. Magnusson's organ never overwhelms the others. This is a hard bop trio utilizing its ability to groove but also staying within tradition. "Raise Four" is both bluesy and funky. Thor's melody is smokin' and free-wheeling like Grant Green or early George Benson. McLemore shows the versatility of a young Billy Higgins throughout this session. His ability to shift in time and rhythm adds an element of surprise with each track.

On "Green Chimneys" Thor picks up Charlie Rouse's chords masterfully. It's not as striking as you would think and the patterns blend harmonically with Magnusson playing the Monk extremely subtle allowing the focus clearing on Thor and McLemore. It's a great example of this collectives creativity in re imagining what could well be a difficult piece. McLemore's solo is bit more fierce than Ben Riely's original but it clearly suites this highly imaginative version.

The beauty of such Monk ballads as "Ugly Beauty" and "Ask Me Know" illustrate another aspect of ASA Trio that I love--they are constantly challenging themselves throughout this recording. It's hard enough to tackle Monk compositions that others don't usually look to work with. It's another thing to challenge yourself with both his uptempo, multi-layered pieces and his intricate ballad material. "Ugly Beauty" in particular, while staying in line with Monk's original intent, shows Magnusson applying delicate pressure on the Hammond which in turn give the piece a bit more emotional punch.

I guess you really couldn't close this session with an unknown Monk piece but what better way to do it than with the universal "Straight No Chaser". Thor really dominates as a replacement for the sax (which would have been Sahib Shihab on the original). Magnusson delivers a pulsating solo that you could imagine Keith Jarrett doing early in his career. Great stuff.

ASA Trio have carved a nice niche for themselves in their native Iceland but I think soon the rest of the world will definitely start talking about this trio. With Plays The Music Of Thelonious Monk, ASA Trio have delivered a document that is all together absorbing, challenging, fun and different than some of the material that's out at the moment. In addition, to the Monk album you should also check out their Live At Domo and A Love Supreme: Live At Cafe Cultura digital only album. Highly Recommended stuff. Enjoy.

Northern Exposure with Peter Hum

Peter Hum (piano)

A Boy's Journey (self produced; 2010)

Peter Hum (piano, electric piano)
Kenji Omae (tenor sax)
Nathan Cepelinski (alto, soprano sax)
Alec Walkington (bass)
Ted Warren (drums)

We sometimes get so caught up on where the music is coming from (New York, Chicago, Oslo, London, Sydney, Paris, Stockholm, Tokyo, Sao Paulo, Lisbon, etc.) that we forget what ITS all about. ITS about the MUSIC! Not about where IT comes from.  So when I got a copy of Peter Hum's A Boys Journey, I was surprised to learn that Peter was from Canada. I know Canada has a great jazz scene but I hadn't really been exposed to new artists from there in a long time.

Ottawa native, Peter Hum is a wonderful and refreshing pianist with a stellar debut. Hum has a unique perspective on the jazz scene as he is also a journalist for the Ottawa Citizen newspaper.  He brings a well-studied and articulate vision to the proceedings on his debut, A Boys Journey.  It's a journey that is sometimes autobiographical (describing his father and as well as moments of his childhood) but more importantly its a album that holds your attention from beginning to end. Hum's career in jazz stretches over three decades both as writer, student, composer and musician. His style is subtle, elegant and joyful. For me its reminiscent of Cedar Walton, McCoy Tyner or more recent artists like David Hazeltine and Stephen Scott.

Peter Hum put together a solid band of musicians he has known and played with in various forms over the years. They provide an atmosphere that is both calming and exciting throughout A Boys Journey. The ability to play off each other makes these ten tracks feel like they had been performing them for decades instead of just a few days in the studio. "Take The High Road" opens on a soulful and impassioned note with some strong displays from Hum and his horn section. It's an infectious number because of its lyric beauty and lush arrangement.

Hum's compositions allow the band to stretch out individually, as on "Big Lou", with it's slow but deep groove laid out Walkington in its opening chords and then aided buy Hum masterfully on electric piano. Nathan Cepelinski shines here with some excellent scale work and shadows Hum note for note. As with the beginning, Walkington returns to level the field again as the group slide nicely into its closing bars. 

Peter Hum also shows his gentle side on the lovely ballads "Midway" and the title track which are intimate portraits balancing out the albums more uptempo moments. They also serve as highlights for the saxophonists who display complete command and depth of the compositions.

"Unagi" adds a bite to the session with fierce solo work from Warren and Omae and Hancock-esque funk from Hum on electric piano. Hum seems comfortable as both the fusion and acoustic setting which also makes A Boys Journey a very dynamic record to experience.  "Three Wishes" closes out the session and is almost a microcosm of A Boys Journey. It builds slowly with a delicate interaction between Hum and his horn section before the entire group joins in with some great rhythmic patterns and dense grooves. This gives way to a powerful solo from Walkington before the entire group returns on a gentle note to close out the piece. Well structured all around.

A Boys Journey is a touching debut from an artist who sits on both sides of the musical fence. Peter Hum's watching, learning, performing pays off in an incredibly rich and rewarding manner through A Boys Journey.  A Boys Journey is a real touch of class from north of the border that you should definitely check out.