Michael Dessen

Michael Dessen (trombone;electronics)
photo: Daniel Theunynck

Michael Dessen has an uncanny ability to craft pieces that are delicately structured but also uncharacteristic of his contemporaries.

Similar in vein to Ray Anderson, Dessen also has the ability to move between genres with ease. While he has recorded in many different settings, it has been his recent trio work that has really caught my ear.

Formed only a few years ago, Dessen uses the trio format to explore a number conceptual rhythmic structures. This makes for intensive listening but also a high degree of discovery. 

On their first album, Between Shadow And Space (Clean Feed; 2008) along with Christopher Tordini (bass) and Tyshawn Sorey (drums) create a dense, evocative and fluid mixture of acoustic and subtle electronic instrumentation that is really mind-blowing on first and repeated spins.

The title track deploys a rich counterpoint and improvisation. Tordini and Sorey are the perfect counter for Dessen's compositions. This trio challenges and explores each other's strengths. Patterns are structures are slowly built up and quietly torn down over the course seven minutes on the opener and the listener gets a full understanding of what Between Shadow And Space will be for them--A journey through space, sound and thought.

"Chocolate Geometry" moves along in multi-layered fashion. It's like meditative suite. Gentle introspective passages delivered by simultaneously by Sorey's complex brushes and some dense strokes from Tordini. Dessen's trombone turns into a manipulated trumpet augmented by just the right amount of electronics to mix things up and send the piece soaring.

"Water Seeks" comes flying in to the close out the session. A beautiful and searching piece dedicated to Alice Coltrane with all the harmonics and resonance that would be associated with great composer/harpist/keyboard player. It's loaded with rich texture, sharp hues and rising atmospherics that quietly fades leaving the listener some traces of a long beautiful journey.

Dessen reassembled his trio for the even more rugged Forget The Pixel (Clean Feed; 2011). This time with Dan Weiss on drums and Tordini remaining. The results are the same but Weiss does pack a aggressive punch to Sorey's more insular and thought-provoking approach. Both drummers are perfect in this setting though.

"Fossils And Flows" rips through the speakers introducing the lineup and direction. The trio never let up. Its sound quickly becomes an avalanche and Dessen's use of electronics feels like a thousand aliens sending a message that things will be different this time as his group visits your stereo. "Fossils And Flows" is actually an observation on the BP oil spill in the U.S. and and when listening, you get the feeling how things quickly got out of hand in the Gulf is similar to how unique the sound of this trio moves shapes and patterns.

"Forget The Pixel" is a more organic and improvised piece with each member exploring different aspects of Dessen's composition. It's a number that moves, and moves with light but an effective pace. Dessen and Tordini's exchanges are tight and beautiful well placed. Weiss' drums come in first like a military band and quickly turn impressionistic. Tones and utilization of space is one of the reasons why I have been so captivated by Michael Dessen's trio work. "Three Sepals" is another exemplary mark of his unique writing skill. It's a subtle ballad that stretches from note to note. It also has just the right amount of hard tones to keep the listener engaged, waiting for the next unknown marker. A real treat for the ears.

I have to admit, I've only just discovered Michael Dessen's work in the last year so I have a lot of catching up to do. But from his trio work and a couple of other albums I've gotten over the last few months I am completely absorbed and excited by his material and direction. His playing and writing are superb. He doesn't use the electronics as a gimmick. The sounds are more a subtle aid moving in and out time. They never overtake the rhythm or the meaning of a tune. And that's pretty hard to do. Michael Dessen has proven he is a gifted artist with the trombone, electronics and in composition. An artist who is continually thinking and rising above.

Admiral Awesome

Admiral Awesome (group)

Admiral Awesome (Gateway Music; 2011)

Jacob Danielson (sax)

Christian Windfeld (drums)

Thomas Sejthen (bass)

Fredrik Lungkvist (sax)

Admiral Awesome are a young new Danish trio whose work is fresh and cracking with energy. Their self-titled debut is aided by legendary saxophonist, Fredrik Lungkvist of the group Atomic. As with Bobo Stenson's work with the young Swedish trio Plunge, Lungkvist gives a hard, grittier edge that challenges the group to reach new heights with each track.

In terms of experience, Admiral Awesome is not new. Each member has considerable work with artists such as Arve Henriksen, Fuzz n' Us, and Jakob Bro in addition to individual efforts. So there is no shortage of skill and creativity within this group. Admiral Awesome grew out of a number sessions and live performances over the last year or so. And the fruit of those experiments has resulted in a exciting and all around triumphant debut, consisting of live and studio material.

While your first thought might be the bombastic brass that sits on top of the melodies--this is more than just your usual free jazz session. The quartet quietly introduces itself on "LSB Vals" with a heavy downbeat from Windfeld just before the rest of the group come soaring in. Eventually the piece steams towards a jubilant cacophony only to return gently to its organic beginnings. "Different Directions" is a fierce little number with a jumpin' bebop touch that Charlie Parker would be proud of. The improvised moments are fun and still keep within a linear compositional structure. Something even the uninitiated to free jazz might still be able grasp hold of and enjoy.

"Stockholm Wilderness" has elements of spy-jazz, improvisation and what feels like a little tribute to Dizzy Gillespie's "Salt Peanuts" mixed in. There is a beauty duel between Danielsen and Lungkvist makes this one of my favourite cuts on the album. The stop/start pace and electricity of the performances here from the entire quartet are killer. "Piratsangen" begins in Brotzmann-esque style with powerful blustery notes from Danielsen. His improvised notes take listener or rocky ride that worth all the eight minutes. As the rest of the group slow move into focus the tune becomes more a bluesy ballad. It's haunting and beauty and closes with band singing farewell to a live audience. And that's a perfect way to end the album.

Admiral Awesome is one of those records I assure you will sneak up on you as the year continues. It is currently available on the Admiral Awesome website and will be released widely later in the year. This is an excellent debut and exciting on multiple levels. It's creative, well balanced and fun between the improvised lines. A great listen. Enjoy...

Ambrose Akinmusire: When The Heart Emerges Glistening

Ambrose Akinmusire (trumpet)
When The Heart Emerges Glistening (Blue Note; 2011)
Walter Smith III (sax)
Harrish Raghavan (bass)
Gerald Clayton (piano)
Justin Brown (drummer)
Jason Moran (piano)

Like last year when I was blown away by new records from Gerald Clayton, Christian Scott and Esperanza Spalding after avoiding the hype machine, I come to that moment again. I was actually already impressed with Ambrose Akinmusire's work with David Binney, John Escreet and Steve Coleman. I have been unable to find his debut album, Prelude (Fresh Sound/New Talent; 2007), but I'm still gobsmacked at the strikingly exuberant second album, When The Heart Emerges Glistening (Blue Note).

Akinmusire has been on the scene only a short time but the musicians he has already performed with along with the growing maturity in his writing is sure to make an impact on listeners this year. Surrounding himself with a cast of musicians he has worked with already over the years makes the album a cohesive and exciting venture from start to finish.

Opening up with "Confessions To My Unborn Daughter", Akinsmusire sets the tone that he is willing to make bold statements and even bolder performances all with beauty and skill that might be beyond his years. There's an energy on this opener that both encompasses the fierceness of Clifford Brown and the modern styling of Terence Blanchard. The exchanges between Smith and Akinmusire are tight and intense. But they underscore the longstanding relationship two have had for some time now. Brown's pulsating timing adds another laying of urgency to the piece that illustrates the quintets effort to make every piece important.

"Hyena" is a midtempo piece but still holds a fresh bold consolidation in structure. Akinmusire allows guest pianist, Jason Moran (on fender rhodes here) to take some of the lead here but moves quietly in and out of the foreground. There's a heavy tone in Akinmusire's voice on "Hyena" that made me feel a lot more emotional than usual when listening to ballad. The performance cuts right into you. I loved that.

While ferocious may be an adjective for describing Akinmusire's overall tone, he manages to demonstrate a real sense of beauty on a number of pieces."Regret (No More)" is one of those numbers in which I sometimes get reminded of Terence Blanchard. It's the soft touches and long notes that feel cinematic in nature but provide a lush beauty that stretches long after the piece as concluded.

"What's New", the lone standard on When The Heart..., shows Akinmusire's more contemporary side. A lovely duet with Clayton, where the trumpeter reflects on what appears to be one of his mentors, Clifford Brown. It's a wonderful piece and shows a much more relaxed nature for Clayton as well. The two tenderly play off one another and it's a standout for both musicians. It's a touch of tradition but performed with modern respect and reflection.

When The Heart Emerges Glistening is shinning achievement from an artist that will be on the scene for years to come and his presence might change jazz in the years to come. Definitely a future voice to be heard by everyone...

Scott McLemore: Found Music

Scott McLemore (drums)
Found Music (Fresh Sound/New Talent; 2006)
Tony Malaby (sax)
Ben Street (bass)
Ben Monder (guitar)

A fresh discovery for me early this year was the group, ASA Trio from Iceland. I am still in love with their latest release, Plays The Music of Thelonious Monk and I'm already letting everyone know it will be on our top albums of the year list. But while the trio have released one of the standout albums of 2011, I decided to look into one of the members that really struck me--drummer, Scott McLemore.

McLemore, now living in Reykjavik, spent 8 years in Brooklyn developing his skill. He has an impressive CV which includes recording/performing with an intensive list of musicians including, Angelica Sanchez, David Berkman, Tim Berne and his wife, pianist, Sunna Gunnlaugs to name just a few. As a solo artist he has only recorded one album, but it is an amazing record that should not be overlooked. That album is Found Music (Fresh Sound/New Talent).

What is so fascinating about Found Music is McLemore's compositions and leadership. This album was recorded prior to his joining up with ASA Trio but it shows a musician who had a host of ideas and circled himself with set of musicians who could execute it superbly. The album is subtle but with pockets of fierce individual performances. "If You Wish" and "Ambiguity" are both relaxed moments where Malaby and McLemore shine with a modern contemporary resonance.

The diversity of McLemore's playing as it does with ASA Trio reminds me of agility of the late Billy Higgins and Paul Motian. And as with Higgins, McLemore gives his bandmates the space to breath and create a sound that lets the listener sit back imagine and enjoy. Ben Street delivers the long opening recitation for "Safe From The World" that only underscores what an important bass player he continues to be. Here, McLemore settles in the background allowing the rest of the quartet to step up and transform the piece with great beauty.

"At No Cost To You" is McLemore's salvo, illustrating that this young talent means business behind the kit as well as a being the composer. Each member has a nice dueling session with the leader on this track and its fun to absorb and crank louder and louder with repeated listens. The group come together with a raucous unity towards the end that is just simply awesome.

"Worldly Possession" is probably the most eclectic piece on Found Music. It's also the longest. An intense, rolling and momentum building set of chords by Monder help make the piece a bit of Marc Ribot-esque exploration. Street bends the notes while McLemore adds a thumbing and seductive rhythm just underneath.

Found Music is one of those little undiscovered treasures that you're always looking for. But it is also a document of a musician who would later expand his skill in partnership with one of the best up and coming trios of the last few years. This is the "secret origins" of a talented new artist and composer on the scene. Here's to seeing a new Scott McLemore record soon. Found Music is still readily available so please search it out. A must listen for sure.