Eddie Mendenhall

Eddie Mendenhall (piano)

Cosine Meets Tangent (Miles High Records)

Mark Sherman (vibes)

Akira Tana (drums)

John Schifflett (bass)

A lush harmonic beauty exudes from Cosine Meets Tangent (Miles High Records), the debut recording from Monterey teacher and musician, Eddie Mendenhall. Absorbing a scene that crosses both Japan and the U.S., Mendenhall has developed a voice that is disciplined, rhythmic and entertaining throughout the course of this session.

This is a fresh and very inviting album that has shades of some of the legendary and entertaining sessions from the likes of Hank Jones, Cedar Walton and more recently Cyrus Chestnut or David Hazeltine. Mendenhall's approach is a straight forward bop sound that can be both intricate and accessible to new & old jazz fans alike.

"Protocol" opens with bounce from both Mendenhall and Sherman who make sure to grab the listener and bring them right into the rhythm. Sherman doesn't stretch like some the more avant garde vibraphonist but he makes the best of influences like Bobby Hutcherson and Milt Jackson. And that makes "Protocol" all the more rewarding.

"Rain Hike" sees Mendenhall telling a story and taking the listener on a journey which encompasses not just his jubilant take on the keys during the solos but also a passionate demonstration by his band. Sherman and Schifflett have some impressive performances as well, and Tana slides gently underneath with superb timing but without it this track becomes more a jam than a hard driving piece of modern bebop.

"Lament For The Ocean" is a passionate soliloquy (written in response to the BP oil spill crisis) which Mendenhall really delivers his best performance. It's introspective but warm and inventing enough that you really are affected by it with a real sense of urgency. One of my favourite tracks on the album.

The closer and title track is more complex than you would originally think considering how free and open the rest of the album is. "Cosine Meets Tangent" is brisk with some great harmonic structures and improvised moments that stretch the quartet more than the rest of the proceedings. It definitely shows the strength of the band. Schifflett gets a great opportunity to let rip and has some terrific conversation with Mendenhall through the middle of the piece. The builds to a quick yet festive conclusion which keeps in the tradition of outing.

Cosine Meets Tangent is a great debut from a talented musician and teacher who has a lot to share and stories to tell. It might be a difficult record to find but if you come across it either online or at your local record store, it is well worth the price. Enjoy the experience.

Alon Nechushtan

Alon Nechushtan (piano)

Words Beyond (Buckyball Records)

Dan Weiss (drums)

Francois Moutin (bass)

I became aware of Alon Nechushtan from his work with what I would call "avant garde klezmer" outfit Talat and was extremely excited about what Nechushtan would do as leader. He is a talent and in-demand musician who has worked all over the globe with festivals and musicians as diverse as Roy Campbell, Chris Speed, Marc Dresser among others.

The work he has done on his debut, Words Beyond (Buckyball Records) is simple. He has deliver an album of real invention, originality and clarity that should catch the ear of most jazz listeners as this record gets out to more people. With the obvious influences circling this session, Monk, Jarrett, Bley, etc. I tend to notice Uri Caine more in the flexibility of the compositions and Nechushtan's own performance on Words Beyond.

There is a playful nature between the trio on the first two tracks "Muppet Shock" and its successor, "Different Kind Of Morning". Both display an elegant, joyful and quick witted Nechushtan creating some intense patterns as the excellent Weiss and Moutin follow with a deep one, two's of improvised moments. Lovely interplay especially throughout "Different Kind Of Morning." On my current favourite track on the album "Dr. Masterplan", Nechushtan illustrates some complex arrangements but his play is so high-paced that you are immediately sucked into the rhythm and a journey that is buoyant and accessible.

The complexity and cleverness of Alon Nechushtan's writing does remind me of the earlier straight ahead jazz albums of Uri Caine (or his Moloch record for the Tzadik label). They can be complex in composition but yet still mesmerize even the newest of jazz fans. I feel this way on "Spring Soul Song" and "Heartbreakthrough". The first having more of an upbeat and sometimes staccato moments but overall moves the listener with a sense of adventure. The latter is a more a traditional ballad in which Weiss and Moutin both are raised to forefront with superb performances. Weiss adds a gentle wash to discussion while Nechushtan and Moutin both give real emotional impact with their interchanges.

Words Beyond is a stellar debut from a composer and musician who is reaching new heights with every recording session and performance. If you haven't listened to Alon Nechushtan already, I highly suggest you start now. Highly Recommended.

Be Lee...Alon Nechushtan from JMJProductions on Vimeo.

Arszyn/Duda: The Polish Avant Garde

Arszyn/Duda

SE (Lado ABC)

Krzysztof Topolski (drums; percussion)

Tomasz Duda (sax)

First, I must thank fellow jazz blog, Polish Jazz, for turning me on to some great stuff over the last week. One such record is SE by Arszyn/Duda. This piece of incredible improvisation and experimentalism reminds me of the Ken Vandermark duo sessions of the last couple of years (especially Complete Friction) or even Sonore (with Peter Brotzmann). This improvised session was created by two young and talented musicians who have studied under some of the best in Polish improvisational jazz legends.

SE encompasses three lengthy "untitled" tracks that search, examine, devolve and reconstruct sound through fracture chords and manipulated patterns. There are also elements that remind me of the Master Musicians of Joujouku, especially in the first track which moves ever so closely towards a rolling cacophony of sound and tribal drum beats. It's fierce, blistering and sometimes painful when you're listening with headphones but I loved ever ear-splitting second of it. Track one becomes more free and sparse toward the end as Topolski and Duda share almost silent improvising moments before building up momentum into Track two which turns into a mellow yet still experimental affair.

Track two sees Topolski's pulsating drums subtely shifting in and out of range with Duda creating one and two note poems over top. Towards the end, Duda becomes more like Ornette Coleman with some really beautiful tone dialling and phrasing that may stop you in your tracks thinking there's a melody that's about to break out. Ha, Ha, you're wrong!

Track three follows a similar path but the listener experiences every emotion throughout this piece. Beginning with short half notes and periodic squeals, and lower frequency swathes of the brushes and subtle electronics, this piece than gentle brings the listen down for a soft landing after a good sixty minutes of mind blowing soundscape surgery.

Arszyn/Duda have created a real treat for all us improvisation lovers out here. SE is not for faint-at-heart. You will be hit with sound. There will be blood. This is challenging music, folks. But this is why we love jazz!

(Again...Many thanks to fellow blog site Polish Jazz for turning me on to Arszyn/Duda. You guys should really check out what he has to deliver. We will be sharing some of their stuff over the next couple months as a way to spread more news about the great jazz scene in Poland. Stay tuned.)

Daniel Levin's Modern World

Daniel Levin (cello)

Organic Modernism (Clean Feed Records)

Nate Wooley (trumpet)

Matt Moran (vibes)

Peter Bitebc (bass)

YOU NEED TO KNOW DANIEL LEVIN. 

Daniel Levin has been on the rise since his Don't Go It Alone debut in 2003. And while there have been plenty before him that has set the groundwork for the cello as a major instrument in jazz, inlcuding: Eric Friedlander, Daniel Pezzotti, Hank Roberts, and David Darling among others, Daniel Levin is one artist who is quickly making the cello a prominent force in jazz composition.

With a presence that may be larger in Europe than in the states, those within jazz circles know what an amazing musician/composer he is. He has worked across the improvisational spectrum, with the likes of Ken Vandermark, Joe Morris, Andrew Cyrille, Anthony Braxton and many more. Levin brings a subtle adventurous beauty to this chamber setting on his latest, Organic Modernism (Clean Feed Records). His consist and always remarkable quartet of Wooley (trumpet), Moran (vibraphone) and Bitebc (bass) deliver an eloquent and colourful performance throughout the brilliant journey that is Organic Modernism.

"My Kind Of Poetry" is as touching as it is melodic and dense in a slow blues-like fashion. The interaction between Bitebc and Levin at times feels like one instrument. The piece continues builds slowly with the addition of Wooley and then Moran in a more laid back role on this piece. Then we finally arrive at what is an interesting and brief denouement as Levin and Bitebc briskly break in and bring the piece to its conclusion.

"Old School" begins with a haunting, swirling vibe started by Moran and Wooley and then intersects with Bitebc downward strumming and some intricate chord changes by Levin. It's an exploratory piece with a great deal of depth. Levin uses the space between perfectly and he and Moran interweave back and forth in the mix. There's a cool warmth to this meditative piece that gives you a realm glimpse of a quartet that has worked together for a very long time and knows how and when to fill the sound world they have created.

"Wild Kingdom" is a wonderful statement which Levin unveils a fierce opening while painting the outside borders for the group to follow. There's improvisation here, especially from Wooley and Bitebc, but there is also a real sense of direction and structure that you soon grasp a follow with interest on how this end. That's the excitement of the organic journey.

Organic Modernism delivers on the idea that the use of space, depth and sound can conjure some beautiful melodies. Organic Modernism also delivers the melody in unexpected structures, all the while, creating a pleasant listening experience for the audience. I hope for most people this isn't your first experience with Daniel Levin but if it is it is a great one. Now go buy the rest of his works.