Harris Eisenstadt...From Toronto To New York

Harris Eisenstadt (drums)

Canada Day II (Songlines Recordings; 2011)

Matt Bauder (sax)

Chris Dingman (vibes)

Nate Wooley (trumpet)

Eivind Opsvik (bass)

Harris Eisenstadt is one those rare and highly versatile drummers that utilizes diverse world rhythms and themes into cohesive crafty compositions, all of which amounts to some fantastic outings. Eisenstadt has recorded and performed in various groups including Convergence Quartet, Nate Wooley Quintet and a killer session with Jeb Bishop and Jason Roebke entitled Tiebreaker, among many others. One of Eisenstadt's most recent and exciting units is his own creation, Canada Day (yes named for the country's national holiday and Eisenstadt's home of origin).

Eisenstadt is a Canadian but now living in New York. He has a unique, diverse and complex style that has been born over the course of recent albums (The Soul And Gone, Guewel, and Woodblock Prints). With Canada Day, Eisenstadt explores different meters, patterns and counterpoints but still beams with crisp accessibility. Eisenstadt sites Miles Davis' classic 60s quintet as inspiration and Canada Day II, the groups second release, is a solid post bop offering that reflects those influences.


His seasoned bandmates, all of whom have successful groups of their own, bring rich ideas to Eisenstadt compositions. The majority of the material is based on Eisenstadt's life experiences in the New York area of Brooklyn. This creative zone flies freely throughout the music on Canada Day II.

"Cobble Hook" is a fast paced opener with a lot fun and rhythmic patterns laid down in the beginning by Eisenstadt. The band quickly joins in and Dingman and Opsvik put in stellar performances. Wooley and Bauder add some heavy elements to the mix turning this into a smokin' affair that feels more big band than small group.


On "Now Longer" Eisenstadt gives the always impressive Opsvik time to shine with some very intricate solo work. This midtempo number delivers with swathes of free form thought from Bauder and some very exploratory drumming from Eisenstadt. "Now Longer" closes with the group in ethereal form thanks to Dingman, Wooley and Bauder. "To Be" really sees the quintet in a Miles Davis mode. Rolling patterns and urgency through each member's delivery makes "To Be" a fruitful and exquisite piece.

"Judo With Tokyo Joe" closes Canada Day II on both a melodic and beautiful note. The resonance of the piece and Eisenstadt blues-like pacing allows Bauder and Wooley to open up while Opsvik and Dingman set intimacy around the borders. It's a swirling piece that is dedicated to New York's grand avant-garde master, John Zorn, whom Eisenstadt gained new inspiration from prior to the recording this session.

Harris Eisenstadt has always been a well regarded performer, but Canada Day II shows him becoming an even more important composer and leader. His ability to write material that accentuates the most creative elements of his bandmates is simply superb. Canada Day I and Canada Day II are both highly recommended releases from a versatile and dynamic artist.

David Braid: Verge

David Braid (piano, prepared piano)

Verge (DB, 2011)

A few weeks ago I wrote about the exciting Canadian pianist, David Braid and his collaboration with the Canadian Brass. On his latest release, Braid goes it alone with Verge, a beautiful and diverse selection of solo pieces that has been on repeat in my house for days now.

David Braid is one of the few pianists capable of straddling both the classical and jazz worlds with ease. In addition, the ability to perform a solo piece, while not daunting for a pianist, does ask the question, "how do you make it different?". Well, Braid does that magnificently. A combination of masterful technique, delicate arrangements and hint of playfulness makes Verge a real treat for jazz fans.

Opening with the lovely "Le Phare" (some one correct my French but I believe it is "the lighthouse tower" or "the lighthouse"), Braid rolls out the statement of Verge, an experiment that will be both exhilarating and contrasting. Braid's playing climbs into a rolling melody midway through and never lets down until the end. It's a delicate performance set with rich harmonics and was based on the great composer Igor Stravinsky's thoughts that music can be used to revolutionize lives. Braid certainly is a shinning light in this regards.


Braid switches to prepared piano for a truly different version of "The Way You Look Tonight" that is startling and slightly unrecognizable at first listen. I actually had to start the track over because I wasn't sure it was what I was hearing. There is a great set of improvised moments throughout highlighting Braid's dynamic way of reshaping this standard.

"Richmond Square" again sees Braid on prepared piano and utilizing a great deal of speed and creativity by manipulating the piano into not just a melody instrument but also a groove laden percussive one as well. Inventive, infectious and inviting wrapped up in just over six minutes--wow! Braid returns to a mellower focus on "Semi Unconditional", a track that follows a balladry form, with warm and highly emotional undertones.

The most adventurous piece on Verge might be the one Braid didn't write, "Spring Garden Night" based on a Chinese folk song. Braid again manipulating the piano giving it a very dense nature and Eastern atmospheric. It works extremely well. Braid utilizes the space well and creates some moving and thoughtful imagery that could sit well alongside the material of Harold Budd (big words I know) with this piece.

With Verge, David Braid has really set himself up with a terrific launching pad that should be recognized by a much wider audience. His inventiveness and in some case risk-taking are elements that are making David Braid part of that select few pianists in jazz that continue to move outside the borders of the genre.

Misinterprotato...Your New Favourite Band!

Misinterprotato (group; formed 1999)

The Gentle War (Jazzhead Records)

Sean Foran (piano)

Pat Marchisella (bass)

John Parker (drums)

The piano trio has blossomed in the last ten years. But with each new group there are definitely distinctive qualities that make them all enjoyable and in some cases extremely fascinating. Misinterprotato are one of those fascinating trios. This Brisbane, Australia based group has been igniting the Australian scene for just over a decade. Their influences are definitely an amalgam of modern jazz, improvised thought and the excitement of a rock trio. 

I first got turned on to Misinterprotato as a result of my obsession with fellow Australians, The Necks. I wanted to find more interesting jazz bands from the country and...well... I found it.

While many people may only be aware of Australian trio The Necks, Misinterprotato occupy a completely different area from fellow countrymen who utilize more improvisation and dense space as part of their repertoire. Misinterprotato have developed over five albums into a highly creative and deeply thoughtful group. Their latest album, The Gentle War (Jazzhead) echos the subtle adventurousness of one of their earlier releases, Delay, but also combines the more crisp and well focused melody driven material of the last two albums, Variations and In Is In.

"The Gentle War" burns with intensity and a rolling groove laid out by Foran and Parker. But this is a group effort throughout. Marchisella joins in with a wonderful meditative solo that might make Charlie Haden proud. "Cute" is something you don't get from many trios of late, a sense of humour centered around some forceful playing. The group dig deep with the melody that moves swiftly but with a real command that is both shining and invigorating.

"Wrestle" is another thoughtful and compelling work that really highlights the well rounded ideas Misinterprotato put together. "Wrestle" moves with grace and beauty that is both ethereal and joyous all in one. "Not According To Plan" is the real triumph on The Gentle War and for me its my favourite track on the album. With mellow openings and very textured passages from Foran, this piece delivers on introspection in the best possible way. Marchisella and Parker move in larger during the final movement and give the piece more depth. A real treat for anyone listening.

The closing number "Time" is beautiful and atmospheric. It's extremely reminiscent of the Delay album which was mostly an improvised exploration and the perfect ending to a richly satisfying outing.

Comparisons to The Bad Plus, Keith Jarrett trio (Charlie Haden and Paul Motian) and even the great Esbjorn Svensson Trio are unavoidable but Misinterprotato do lay out their own path and clearly distinguish themselves from the those trios. I think if you use the aforementioned groups as your starting point, you will undoubtedly fall in love this Australian trio. Misinterprotato has created one of the best trio records so far this year with The Gentle War and I urge you to take the journey with them. Misinterprotato is your new favourite band.

Niels Lyhne Lokkegaard

Niels Lyhne Lokkegaard (sax)

The Scale Of Grey. The Tone Of Black. (Nelsonian Records)

Christoffer Steen Moller (piano)

Jeppe Kjellberg (guitar)

Jeppe Gram (drums)

Carsten Skov (vibes)

Lise Christensen (vocals)

Lennart Ginman (bass)

A hauntingly beautiful third album, The Scale Of Grey. The Tone Of Black., from Danish saxophonist, Niels Lyhne Lokkegaard will leave many listeners in amazement. Lokkegaard has been a rising star on the Danish scene for a few years now. His playing style is subtle and touching in way many Nordic releases of the last few years have been. For me its reminiscent of the more balladry moments of Dexter Gordon or late period Stan Getz.


But what separates Lokkegaard from the rest is his compositional skills. A layering of lush arrangements combined with the unity and understanding from his bandmates makes The Scale Of Grey. The Tone Of Black. lovely and satisfying experience for any jazz fan.

"The Opening" features a rich atmospheric tone led brilliantly by Kjellberg on guitar and then joined by Steen Moller and Lokkegaard. It's melodic and calming and lays the groundwork for journey into the rest of this session. "The Restraint" delivers another chilling message with Skov and Christensen providing some ethereal treatments just audible enough to twist your subconscious in and out of shape. Lokkegaard has established a beautiful minimalism through the performances of his ensemble that is both in tune with jazz and ambient aesthetics.

"The Unresolved" with its rolling melody from Moller on piano and Lokkegaard's crisp phrasing feels like more accessible Philip Glass piece. It's a cinematic piece that holds the listeners attention through a long journey. On "The Wasteland" Lokkegaard's writing highlights the contribution of Ginman, Kjellberg and Gram with its bluesy pacing and rhythmic tone.

Niels Lyhne Lokkegaard has a young lyrical voice and developed over three records an extraordinary compositional skill that beams through his entire band. Niels Lyhne Lokkegaard is a moving work from an artist that is really only just beginning to make his statement on the European scene but it is a bold statement that should be discovered by everyone. Brilliant stuff and highly recommended.

Also Recommended

Light Airborne (Calibrated Records)

Niels Lyhne Lokkegaard (Calibrated Records)