Resonance Ensemble: Kafka In Flight

Resonance Ensemble (group)

Kafka In Flight (Not Two Records, 2011)

Ken Vandermark (sax, clarinet)
Mikolaj Trzaska (sax, clarinet)
Mark Tokar (bass)
Michael Zerang (drums)
Tim Daisy (drums)
Steve Swell (trombone)
Per -Ake Holmander (tuba)
Dave Rempis (sax)
Magnus Broo (trumpet)
Waclaw Zimpel (clarinet)

This is an album I have been waiting for since I read about it on Ken Vandermark's twitter feed a few months ago. The Resonance Ensemble is the brainchild of the great Chicago saxophonist, Ken Vandermark. In the similar vein to Peter Brotzmann's Tentet (which Vandermark is also a member), Resonance embarks on large scale compositions. But where PBT tend to move into the upper stratosphere in theory--Vandermark is keeping things within a linear pattern as far as the tone is concerned. There is a great deal of improvisation happening but its within the melody and rhythm of the writing.

Resonance Ensemble was first developed out of a series of concerts and studio sessions that were later recorded in 2008 (Live In Lviv) and then for the 10CD box (Resonance Box). What's remarkable is that as Vandermark states in the notes to this album, because of the size of the band and the various groups they lead and projects they participate in, its difficult to get any rehearsal time before live shows or recording. I don't think any of us would notice or care. Why you ask? Because the results are something truly unbelievable.

For the group's third album Kafka In Flight, recorded live in Poland, Vandermark guides the group with three lengthy pieces of jubilant free form that would make you feel as if Ellington, Coltrane, Cherry, Coleman, Blakey, Chambers (and take the your pick of the rest) had gotten together in your backyard. Kafka In Flight is smokin'. Unlike even Vandermark's main group (The Vandermark 5), Resonance Ensemble seem to enjoy mixing the past in a large bowl and coming up with interesting and riviting concoctions. The opener, "The Pier" is fast moving and allows for moments in which each member can contribute and expound on Vandermark's material. It's a real treasure of ideas that surface. The always incredible Tim Daisy delivers an excellent improvised mid-section, accompanied by a good portion of the horn section and Vandermark on clarinet, explore and exchange some intense possibilities but it works unbelievably well.

"Rope" is a bit more cinematic, led by some great performances from Per-Ake Holmlander on tuba (a rare instrument in modern free jazz) and Magnus Broo (trumpet). "Rope" moves from funky to experimental to comforting (so-to-speak) and gives the listener a lot to absorb. Michael Zerang and Tim Daisy are superb as they duel it out with sharp intersecting chant from each of the wind players. "Coal Marker" rounds out this hour long journey in style. It's the ensemble releasing all it's force into your speaker (and you better be able to deal with it). There are spontaneous moments that sees the group in unison but also exchanging circular rhythmic patterns. This is a group that somehow, despite little time together, knows exactly what the other is going to do and each is up for the challenge.

Kafka In Flight is an album and performance that is built around the ability of Ken Vandermark to write excellent material that is interchangeable for each member. You can picture most of these notes performed by different members and each coming up with a different result. But the result would still be amazing. Kafka In Flight is yet another step in the already legendary career of Ken Vandermark. While the first two albums are both hard to find and in the case of the boxed set--expensive--you should definitely seek out Kafka In Flight. It is well worth every avant garde fan's dollars. One of our Top Albums Of The 2011.

HAPPY BIRTHDAY MILES DAVIS

Miles Davis (trumpet)
May 26, 1926 - September 28, 1991

May 26th is Miles Davis' birthday. Now I'm not going to go into a big long story about how great he is and the history. I believe you can get that from any site today.

I thought it would be good to give a short list of past pieces we've done on Miles Davis over the last few years.


It's not an all encompassing list but I think it covers some essential albums and collections that would be great for the uninitiated or even the collector in this age of digital music storage.

So as you spend the next couple of days reading articles about Miles here's what you might want to consider the next time you go to the record store.


L'Ascenseur pour l'echafaud
Kind Of Blue
Live In Stockholm
Bitches Brew Live
The Columbia Years
Decoy
Doo Bop


And check out the videos we found as a bit of prove on why Miles Davis is so important.

Klang: Other Doors

Klang (group)

Other Doors (Allos Musica; 2011)

James Falzone (clarinet)
Jason Adasiewicz (vibraphone)
Jason Roebke (bass)
Tim Daisy (drums)

Guest Musicians
Jeb Bishop (trombone)
Josh Berman (cornet)
Keefe Jackson (sax; bass clarinet)
Fred Lonberg-Holm (cello; electronics)

There once was a time when Benny Goodman was considered "avant garde", "outside the mainstream" or just plain "what the hell was that he just played". Goodman's ground-breaking benchmark, Live At Carnegie Hall is evidence of how left of center Goodman was for his time. Fast forward just under 75 years later to Goodman's hometown of Chicago. You will find a vibrant avant-garde/free jazz scene that while not based on Goodman's playing, definitely has Goodman's spirit of collectiveness. Enter the quartet Klang led by clarinetist, James Falzone. Klang, with an unusual lineup of clarinet, vibes, bass and drum have set forth a different direction compared to their more veracious Chicago contemporaries.

Klang's third album, Other Doors investigates the music and legacy of Mr. Goodman but with a very unique free form spin. The album was originally born out of a Chicago Jazz Festival performance that paid tribute to the Chicago native and legendary clarinetist. Other Doors is fun, crisp and filled with improvised moments that turn this session into one of the best Chicago outings of the last few years. "Stompin' At The Savoy" sounds completely fresh and revitalized in the hands of this quartet. It contains all the elements of the swing classic but it's infused with spontaneous exchanges and ethereal swirls (led by Jason Adasiewicz's always sublime performance on vibes). Falzone's playing is respectful but never imitating. He brings some gentle phrasing to certain lines raising this version far above homage and places it into a post modern must listen.

"Memories Of You", a midtempo ballad gets deep, dark re-visitation under Klang's direction. With some great manipulation of space by Falzone, Adasiewicz, and guest Longberg-Holm. Falzone's performance is passionate and introspective and reflects Goodman's own moments were he gets lost in the music but the listener become wrapped inside the rhythm. The title track has an impressionist approach. It's lyrically beautiful and paints a slow but delightful picture that is led by the horn section. Rich and textural with a free spirit, you will find very rewarding.

"The Already And The Not Yet", a track originally written on one of Falzone's earlier albums by the same name, is a delicate but operatic piece that becomes hypnotic and enveloping towards its conclusion. "Goodman's Paradox" is the moment in which the group let's loose (sort of) and delivers an extended workout of swing and experimentation that will take you by surprise but it fits perfectly in context. Goodman would be wowed.

While each of the members and the guest musicians on Other Doors lead their own groups, as Klang they together achieve something completely different from their respective groups. This is a dynamic quartet that experiments with past themes and creating future music. Other Doors is no tribute. It's a complete enlightened re-imagining of one of the most legendary and important figures in jazz. Highly Recommended.

Jordan Young Group

Jordan Young (drums)

Jordan Young Group (self produced; 2010)

Brian Charette (organ)

Yotam Silberstein (guitar)

Joe Sucato (sax)

One of the main reasons I was drawn to the Jordan Young Group's self-titled debut was the fact that the leader was from Detroit. Detroit has long tradition of music legends across multiple genres (Iggy Pop, Juan Atkins, Elvin Jones).


Jordan Young has a nice pedigree in his short career. He has studied and played with some of Detroit's greatest musicians, including Gerald Cleaver, Marcus Belgrave and James Carter to name a few. Young's playing is understated but precise. The influences of Jimmy Cobb or Philly Joe Jones seem apparent. But as leader of this organ based trio, Young is also very good director of a tight and skillful collection of musicians.

The Jordan Young Group while consisting of some interesting covers, a few interludes penned by organist, Brian Charette and one full track by Young, is still a solid effort and demanding of repeat listens.


Opening with a surprising version of Pat Metheny's "H and H", the group transform this trio piece into a vibrant and exciting excursion. "H and H" gives each member moments to shine individually. Young's playing is sharp and well refined. He has a couple rolling moments that really catch the ear. Sucato's sax is killer and has a nice Stanley Turrentine vibe to it. Charette and Silberstein both display funky exchanges, with Young keeping the group in great timing. A great opener and nice prelude to what is to come throughout the session.

As I've said with other organ based groups, its difficult to kept the organ from overtaking the rest of the group sometimes. On the Jordan Young Group that doesn't happens. Charette's playing is leveled and masterful. The arrangements and choices Young and the rest of group have chosen highlight this through the intricacies of the quartet. "Every Time We Say Goodbye" is a wonderful rendition of the Cole Porter standard that emits a lovely tone through Charette and Sucato's performances. The groups interludes, "Pings", while short still give insight into what the band can do for the future. These are like short films or cut-ups. Giving a futurist, post modern element that the rest of the albums standards may not project. Charette and Young drives these pieces with swirling patterns and subtle improvisations.

Jordan Young's own, "Claudes Monet", the group display a loving touch that is straight ahead but still richly rewarding. It's a beautiful ballad that again gives the individual members a chance to shine and the listen a closer opportunity to hone in on Young's playing and compositional skills. Another stellar performs comes on the yearning "My One And Only Love" where the group again shows a great deal of pose within a classic number. Young while the leader of group shares a great deal of skill like the aforementioned drummers and possibly even more recently with Paul Motian in making is playing understated when needed and boisterous when demanded. In "My One And Only Love" it's definitely in the background, allowing his group to take the lead nicely.

On the Wayne Shorter piece "Angola", Young is required to up-the-ante and energize the group with a really magnificent performance. The group's response is smokin'. Young lets loose on a vicious solo midway through that you didn't hear or expect from the earlier portion of the album. It's a good opportunity to experience the full range of Young's playing and direction. The Jordan Young Group closes with another Ping which again could foreshadow a future direction for the group and that I hope comes to disc soon.

Jordan Young has definitely learned a lot from his Detroit mentors. But I think the most important thing was how to be a leader. The Jordan Young Group is fantastic debut from a quartet that display great versatility with originals as well as inventiveness with the elements of the past. A solid effort worth your time and money.