The Intersection: DMP Trio

The Intersection is an ongoing feature on JazzWrap that looks at artists that have blended jazz, world and electronica in new and highly creative ways.


DMP Trio (group) 

Insular Dwarfism (Audio Tong; 2011)

Pawel Dziadur (electronics, wave_attack software)

Slawomir Maler (sax)

Philip Palmer (sax; found sounds)

DMP Trio and their debut Insular Dwarfism are probably one of the most daring albums I've listened to this year. Originating out of the experimental scene in Krakow, Poland, DMP have strived to achieved a balance between distinct patterns and expressionistic thought. 


There are moments where DMP remind me of John Zorn's Painkiller group. It's a very difficult listen but extremely rewarding.  I do think we all need challenging music like DMP to ask ourselves what more can be done with sound. And where can it go?

DMP utilize the unique combination of two saxophonists, electronics and what Pawel Dziadur has termed "wave_attack" software, by which he can manipulate "real time" instrumentation without predetermined construction. In short, an even more advanced thought on improvising. The results are fascinating.

"Sea Serpent Fiesta" opens slowly with a modular soundscape that builds into a double barrel cacophony of saxophones and electronics before gently returning to its quiet origins. "Trepanning For Dummies" continues on the same theme but adds an additional level of crackling white noise that could suggest an influence of artists such as John Cage, John Zorn and Faust. The dueling match between Palmer and Maler is quite beautiful and worth your making the journey through this piece with multiple listens.

DMP really works well as a unit. Dziadur's electronics alongside the full-throttle charge of Palmer and Maler at first brush may sound devastating to the ear. But just as early Archie Shepp or recent David S. Ware, you will find the melody and art laying not too far from the edges. "The Worm And A Dip Pen" is another example of this unified display of electronics and horns. Moving swiftly between high pitch and soaring counterpoint, the trio displays a forward thinking range and calmness within a swirling series of thoughts and patterns.

"UV Mother DP" and "Reason In Question" both see the horn section taking the lead with Dziadur adding subtle and accumulating effects around the sides. There is a point at which on "UV Mother DP" rises and never comes back. You just have to follow the journey upwards.

DMP Trio have created a debut that lifts sound investigation to a new level. The main reason why I've fallen in love with Insular Dwarfism is because of the sheer uniqueness of the instrumentation and the recording process. This is challenging music for challenging thinkers. Enjoy...

Nucleon: Fitoplankton

Nucleon (group)

Fitoplankton (Self Produced; 2011)

Alesander Papierz (sax)

Michal Dymny (guitar)

Tomek Gluc (electronics)

Jakub Rutkowski (drums)

Andrzej Sawik (piano)

With a combination of traditional fusion and a modern rock aesthetic, Nucleon are building an exciting book of material that we should really take note of. The group, developed by founding members Jakub Rutowski and Andrzej Sawik, quietly (or loudly) built a huge following within their home country of Poland. Their self-titled debut is fantastic and has all the elements of a young group searching through their influences but also creating its own identity.

The ensemble suffered a major loss last year with the unexpected passing of the classically trained co-leader, Sawik before the group could finish its next record. But Nucleon forged on and created the beautiful, Fitoplankton, an album that explodes through the speakers with vibrancy and urgency. With a sound that is reminiscent of King Crimson, Headhunters, Last Exit and ironically, Nucleus, Nucleon is that "something different" you've been looking for the last couple of weeks.

"Where R U Going Boy?" rambles ans swirls with almost 'third stream' quality in the outset with Papierz and Gluc leading the charge. Sawik, whose piano parts are sampled in perfectly, joins in as the rest of group follow. It's an heavy laden groove that lots of funky moments but the standout performances lay between Papierz, who's delivery is on fire along with Rutkowski's pulsating timing that never lets the group simmer down. "Metalug", another bristling piece highlights the groups rock influences with a cavalcade of chords in its opening that never really lets up. It's a short piece that soon rolls into the quiet and evocative "Sola W Occie" which is driven by Sawik's classical keys and gently moves back and forth between ambient and experimental thought. Papierz delivers some nice almost Coleman-esque solo passages with Gluc and Rutkowski adding eerie direction just underneath his notes. 

"Fitoplankton" presented me with thoughts of Red era King Crimson mixed with the keyboard psychedelics of Headhunters. The group mix a sense of raw, gritty energy thorugh Dymny and Rutkowski but tempered by some buoyant floatation from Papierz. 

Nucleon are a group that I hope will soldier on after the lose of their influential co-founder. They found a way to intermingle Sawik's pieces into this power record which keeps is name alive. But it also gives the group a new point of direction for the future. Check out our good friend Maciej from the blog Polish Jazz for a great look at Nucleon's last effort. Both albums are well worth seeking out.

Undivided: Moves Between Clouds

Undivided (group)

Moves Between Clouds (MultiKulti; 2011)

Klaus Kugel (drums)

Perry Robinson (clarinet)

Waclaw Zimpel (clarinet, bass clarinet)

Bobby Few (piano)

Mark Tokar (bass)

This is a fascinating live recording. One that should be listened to at night to get the full experience. Undivided is a collective born from the mind of clarinetist, Waclaw Zimpel, who has worked with Ken Vandermark, Robert Kusiolek and Aram Shelton to name a few.


On first listen you may automatically get the feeling of late 60's free jazz floating throughout the pieces. But as you continue to absorb the music you will grasp hold of the experiments that quintet are reaching for on their second release, Moves Between Clouds (MultiKulti Records). It reminds of when hard bop began its transition towards free jazz. There's still shadows of expressive melody but there is more of an introspective quality to the music that is rich and rewarding.

With three long tracks the audience and you the listener get a much more in-depth experimentation in sound than the rolling epic of their debut, The Passion. As with late Coltrane, Eric Dolphy, Jimmy Giuffre and even some Donald Byrd records of the time period, Moves Between Clouds has a spiritual and almost folkish element to it.


The addition of Perry Robinson to the quartet gives this live recording it's cultural feel. The title track bares this out. "Moves Between Clouds" has Robinson and Zimpel sharing and intertwining passages. Few's playing underlines the contemplative nature of the piece. It's a slow, droning number that only hits heavy notes when Tokar and Kugel raise the pulse (only slightly) keeping the listeners sense of adventure engaged.

Moves Between Clouds is blissful and hypnotic in its delivery. Few's repetitive tones are matched by Robinson and Zimpel beautiful rising arpeggios on both "Hoping The Morning Sky" and the closing number "What A Big Quiet Noise". Kugel as always makes an impact with crisp and exploratory timing.Undivided have presented one of those solid live performances that you wish you were in the audience that night. Thankfully the date was recorded and we can all experience it. Excellent stuff.

Harris Eisenstadt: September Trio

Harris Eisenstadt (drums)

September Trio (Clean Feed; 2011)

Angelica Sanchez (piano)

Ellery Eskelin (sax)

What's the word for "wow!" in every language? Well that's what I have to say about Harris Eisenstadt's latest release, September Trio (Clean Feed). The Canadian born Brooklyn transplant has delivered his second record for 2011 and its even more striking than Canada Day II. This time, as a trio under the aforementioned title. 

Opening with the repetitive, melodic blues of "September 1," Eisenstadt sets the tone that this is a much different outing than Canada Day. "September 1" has you focused on the trio's interactions and the complex and free flowing nature of Eisenstadt's compositions. It's improvised but held within a tight dynamic. This may not have been achievable in any other setting than a trio.

Eskelin has a muscular tone in his phrasing which reminds me of of Ornette Coleman, while Sanchez continues to show why she deserves much wider recognition. Her agile, rhythmic yet contemplative performance has really started me to put her on the same level as Kris Davis, John Escreet, Jason Moran, Sylvie Courvoisier and Irene Schweizer. A real creative at the piano.  But the real focus is Eisenstadt's compositional work.

On September Trio he has allowed his fellow musicians the freedom to move in various directions and in addition, his own timing and melodic touches are exquisite and thoughtful. There is a moment about 2/3's of the way into "September 1" where Eskelin and Eisenstadt share some raw improvised exchanges but it will be the soft tones of Eisenstadt's brushes that you may focus in on as they are placed just under the melody. Beautiful.

"September 3," Eisenstadt allows Sanchez and Eskelin to paint a wonderful picture in cascading hues and a well placed use of space. The piece is superbly written and has moments "harmolodics" throughout. Eisenstadt remains settled into the background with steady timing until midway through when the trio begin to interweave and almost become one note of improvisation.

"September 6" starts of with a rich and bellowing solo period from Eskelin and then slowly turns into a haunting blues filled with counterpoints and lots stellar exchanges between the musicians. "September 6" while moving in various directions still displays as sense of order and investigation. The final three minute passage is spectacular as it rises in tone and then quietly descends into black.

Harris Eisenstadt has already established himself as one of most sought after drummers in the jazz community but its his writing that's really becoming more significant. The ability to write material with such breath while allowing your fellow musicians a majority of the spotlight yet still producing some excellent moments of your own, is well, nothing short of phenomenal. September Trio should be the album that finally sets Harris Eisenstadt apart from many of his peers, as a performer and a writer. Album of the year material for sure. Highly Recommended and Unexpectedly Beautiful.