Robert Kusiolek: Nuntium

Robert Kusiolek (accordion, electronics)

Nuntium (Multi-Kulti Project)

Anton Sjarov (violin)

Ksawery Wojcinski (bass)

Klaus Kugel (drums)

Another big thank you to the excellent Polish Jazz blog for turning me on to another emerging artist on the global scene. Nestled somewhere between the works of Kronos Quartet and ECM's "New Series" lies this rewarding and inventive piece of modernism by accordionist, Robert Kusiolek.


Obvious Astor Piazzolla comparisons would arise when listening to a piece composed by an accordionist but let's truly take Kusitolek's Nuntium debut on its own merits. Kusiolek is a well studied and uniquely gifted musician, composer and improviser.

Combining a classical tradition with avant garde aesthetics his quartet build a deeply melodic but emotional responsive album built on seven "chapters". Each chapter finds the group experimenting with different sound structures that are beautifully executed and set a lovely and relaxed mood. "Chapter III" and "Chapter VII" both present an exploratory vision of Kusiolek's thoughts as a composer he's combination of chamber music and minimalism wrapped in long verses and tightly interwoven storytelling.

Both Sjarov and Wojcinski shine in a dueling interchanges with Kusiolek on "Chapter V" which moves up and down in pace. Sjarov adds that free jazz movement in his subtle but highly effective basslines. "Chapter V" really is where the group lets loose in dramatic fashion with Kugel and Kusiolek ripping through chords with reckless abandon. "Chapter VI" brings things to bit of a more level tone but still with a sense of freedom and adventure led by some fine improvisation by Kusiolek and Sjarov.

Moving through various themes and patterns in just under 50 minutes, Nuntium is relaxing, thought-provoking and beautiful. In the same manner in which Kronos Quartet have been destroying the thoughts of classical music for decades, Robert Kusiolek's arrive shows that there are more musicians thinking how modernism can continue move upward and beyond. Nuntium may not be every one's cup of tea but if you are a fan of avant garde and improvised chamber music, Robert Kusiolek has created brilliant work that is a serious must listen.

Re-Thinking...Benjamin Drazen

Benjamin Drazen (sax)
Inner Flights (Posi-Tone Records; 2001)

Eric McPherson (drums)

Carlo De Rosa (bass)

Jon Davis (piano)

I normally shy away from re-posting but a couple of weeks ago I went to visit a friend a few states/provinces away. I took Benjamin Drazen's Inner Flights as one of my "driving albums". I ended up listening to the album for four days straight. In and out of the car. Inner Flights has become an infectious record for me on various technical, thoughtful and entertaining levels. It has also become a contender for top albums over the year. So I decided I really wanted to share my original thoughts on this album with some of you again.


There is something warm and positive about Benjamin Drazen that keeps me coming back to Inner Flights (Posi-Tone Records). Drazen, a veteran of the New York scene has performed in various settings (funk, jazz and soul) as well as with some prestigious company (Rashied Ali, Dave Liebman, Lew Soloff and Gary Bartz to name a few). It is a surprise that Inner Flights is his first album as a leader.

Pretty much growing up in the New York scene, Benjamin Drazen shows wonderful penchant for strength in performance and melody. The opener, "Mr. Twilight" is a fast paced number with real intent. Drazen bring a muscle to his musicianship that I haven't heard since early Branford Marsalis or Eric Alexander records. While the obvious compositional influences are there (Sonny Rollins, Thelonious Monk and Jackie McLean) Drazen makes his individual voice known very quickly and I think every lover of jazz will gravitate to him, no problem.

The follow up "Monkish", a playful and appropriate tribute, delivers with great verve. The quartet, especially Jon Davis on piano will have you imagining Monk setting in the audience saying "This kid is pretty good" (Well, maybe Monk wouldn't say it so nicely). The title track, "Inner Flights" and "Neeney's Waltz" both add depth, intensity and intimacy to the sessions. The quartet shows a real richness and lovely craftsmanship that switches from a uptempo funky groove (in the case of "Inner Flights") to delightful romanticism ("Neeney's Waltz").

"Kickin' Up Dirt" highlights Benjamin Drazen's more soulful side. It's also an opportunity for DeRosa to standout as well, with some touching and fluid pace on the bass. The closing number is the standard, "Polka Dots And Moonbeams" which seems the perfect way to end this outing. Drazen makes it a lush, bluesy and beautiful affair. He doesn't oversimplify the passages here. He just let's the melody speak for itself but he ends up having the listen remember exactly who is performing.

Benjamin Drazen, after all these years on the scene gets to standout on his own and he delivers with a real diamond of a debut. Inner Flights features mainly all original material and will definitely impress even the non jazz fan. I really had to put listen to this a couple of times because I kept saying to myself, "this can't be this good." Man, I was so wrong. This is really impressive. So if you are reading this blog for the first time or if you've been reading it for awhile--Inner Flights is one of those classic, straight ahead jazz records that is rare nowadays and well worth your time. Enjoy listening...

Aram Shelton...Rising Above It All

Aram Shelton (sax)

There Was... (Clean Feed Records)

Tim Daisy (drums)

Jason Roebke (bass)

Jason Adasiewicz (vibes)

Aram Shelton has spent years moving and developing his musical language. From his home state of Florida to Washington D.C., Chicago and now currently residing in San Francisco, Shelton is becoming one of the most revered saxophonist's in underground circles. All the while, he has maintained a creativity that is both skillfully harmonic and resolutely improvised. Aram Shelton encompasses both the free jazz aesthetics of Ornette Coleman and the tonal language of Jackie McLean. Shelton was an integral part of the Chicago scene with the groups Fast Citizens (w/Keefe Jackson), Dragon 1976, and his most consistent and flourishing, Arrive.

Arrive is now on their third record, There Was... (Clean Feed Records) the quartet puts together some fantastic arrangements with dizzying improvised moments in between. There Was... could be considered the second official album. The previous album Live At Elastic includes all but the title track "There Was". The Elastic album is a bit rawer and possibly more "works in progress" until fully realized for There Was.. On the opener and title track, Shelton and Daisy interchange some aggressive and fun-filled passages. This is met with the same energy when the trio of Daisy, Roebke and Adasiewicz gather and tear through chord changes. It's a well structured melodic piece with improvised moments that settle nicely inside your ear.

"Lost" really experiments with time, rhythm and harmonics. The group gently improvises its way through the first half with a steady and balanced groove laid just underneath by Roebke and Shelton. Adasiewicz later takes the group into "third stream" territory. It's a frenetic dreamlike moment between the trio again before Shelton completely lets loose. It's the type of aggression that makes his collaborative efforts with Keefe Jackson shine.

"Golden" quickly becomes an expression of free acoustic magnification (I kinda made that one up. Needed something that sounded good.). But "Golden" does typify everything Aram Shelton is about--exploring new structures, deconstruction and re-framing/reshaping the sense of things. It's has ballad-like quality that slowly builds into a triumphant exclamation of purpose.

With There Was... Aram Shelton again makes the case that Chicago artists (whether in Chicago or just leaving) are on the boundaries of jazz and testing it, to see what come next. Highly Recommended stuff.

David Braid: Spirit Dance

David Braid (piano)

Spirit Dance (Opening Day Records)

Chuck Daellenbach (tuba)
Brandon Ridenour (trumpet)

Gene Watts (trombone)

Dave Martin (trombone)

Mike Herriott (trumpet)

Jeff Nelsen (horn)

Canadian pianist David Braid may not be widely known to most U.S. jazz fans but he is a highly accomplished and respected artist in circles of the jazz community here as well as in Europe. Not to mention, a critical favourite at home. He has recorded nine albums including a recently released solo piano album entitled Verge. But it's an album he released last year with the legendary Canadian quintet, Canadian Brass called Spirit Dance (Opening Day Records) that is a lyrically beautiful document of two Canadian treasures that has inspired me to write today.

While many people may know the Canadian Brass from classical recordings, the group are the perfect compliment for Braid's peaceful piano. Braid's work makes a technical, quiet, and personal statement throughout Spirit Dance . Canadian Brass have joyfulness to their playing that transcends traditional classical pieces. The combination makes for a great blend of the two traditions and an exquisite introduction to both performer and quintet.


Spirit Dance grew out of the long standing relationship Braid has had with Canadian Brass and the desire the musicians had to work together on a project. These compositions were written by Braid over the course of four years. The opening number "Interior Castles" starts as a melodic free flowing solo piece but builds and modulates after the Brass join in. It continues to keep its lovely harmonic tone and takes you onward to a peaceful conclusion.

"Temple Heaven Walk," with its crystalline use of prepared piano and eastern vibe feels like a combination of Stephen Drury's interpretation of John Cage and Jon Hassell's "possible worlds" recordings. The Canadian Brass add an element of mysticism to the piece that elevates it to spiritual level. Many have compared Braid to Bill Evans and Glenn Gould. Bold comparisons, but I do see the similarities in "Resolute Bay" with its deep rolling harmonics and chord changes. The introduction of the quintet in the second half of the piece gives it more of a thematic feel. Mike Herriott and Jeff Nelsen really standout towards the end of "Resolute Bay" as well.

"Spirit Dance" moves up and down in a romantic procession. There's a lot going on throughout this piece as it evokes images of great composers like Bernstein and Gershwin. Beautiful, melodic and yet jubilant all at once. "Wash Away," as Braid mentions in the liner notes is the resulting thoughts on what a composition written by Chopin and Ray Charles would sound like. This folks, is brilliant thinking. "Wash Away" has the dominate blues/gospel melody but with a layer of chamber magic added by the Canadian Brass.

Spirit Dance turns out to be both a wonderful classical record and melodic solo jazz outing. The compositions are both delicate and improvised within the tradition of great composers from both genres. For those who have never heard David Braid this is great record to start with. For those who thought Canadian Brass were nothing but a classical quintet this is will be a big revelation for you. I've been listening to this record for a few weeks now and everyday new a track pops up as my favourite. I think we all take that as the sign of a great record...right?