Thomas Heberer: Klippe

Thomas Heberer (trumpet)

Klippe (Clean Feed Records; 2011)

Joachim Badenhorst (clarinet)

Pascal Niggenkemper (bass)

Stunning. Simply stunning. I really stumbled into this record. It came about as a result of listening to the recent Equilibrium album, Walking Voices. I wanted to investigate some more material that Joachim Badenhorst had worked on and the new album from German born now New York resident, Thomas Heberer kept coming into view. Mainly from friends constantly telling me I need to check this guy out. And I finally decided I'd better take a listen. And what a surprise...

He studied under the great Manfred Schoof as well as plays in the collective Instant Composers Pool, led by Misha Mengelberg and Han Bennink. But aside from those illustrious backgrounds, he has a loaded catalogue of music that varies in themes (somber to cinematic to Moleaver-esque electronics) but is played with the highest of quality.

On his latest album, Klippe, Heberer delivers a chamber session that is moving as well as experimental in texture. The title refers to Heberer's childhood growing up near the Baltic Sea. The music strongly evokes a sense of space, long depths and far-reaching exploration.

"Torn" opens the disc with a delicate examination of space that has both a European classical element as well as encompassing aesthetics of free jazz. It slowly builds just for a moment and quickly recedes back into your consciousness. Heberer's performance is steady and emotionally effective.

Heberer's composition, "Mole" reminds me of early Enrico Rava. It's crisp and vibrant with sharp passages from both Badenhorst and Heberer. Niggenkemper adds an eerie backdrop with his soft touches on the bass strings. "Stapellauf" shows some of the affect Schoff's influence has had on Heberer. It swirls with frenetic and dark tones from both Niggenkemper and Heberer that pulsate and shift back and forth.

"Blanker Hans" and "Luv und Lee" both feature a mixture of improvised and structured chords that sees Bandenhorst and Heberer playing counterpoint while Niggenkemper rides up and down the scales with subtle abandon. "Einlaufbier" returns the listener to shore after a long journey. It's quiet and short but the final notes will linger in your memory well after the session ends.

Klippe is beautifully composed and executed. Stripped of additional instrumentation and giving his fellow musicians the room to roam and improvise, Thomas Heberer is becoming more than just one of the best kept secrets in the European and New York music scene. Highly Recommended.

David S. Ware: Planetary Unknown

David S. Ware (sax)

Planetary Unknown (AUM Fidelity; 2011)

Muhammad Ali (drums)

William Parker (bass)

Cooper Moore (piano)

Reaching far out and beyond has been a hallmark of David S. Ware's music since first bursting on to the scene, over three decades ago.


He has said on many occasions that he is not looking for the notes or the chords. It's the overall direction and the journey the music takes you on that should be the focus. This is what you get on Ware's latest, Planetary Unknown (AUM Fidelity).

Ware's interpretation of sound is beautiful and nearly indescribable. Yes, there is the free jazz element that lays itself on top of the consciousness of the listener but there is a much deeper exploration to be found with each release.

Planetary Unknown is mainly one long improvised session but the one difference here is the musicians have very rarely worked together (with the exception of Parker) so this was not only an unknown adventure but also discovery of what other worldly themes would develop. The epic and endearing opener "Passage Wundang" moves from soft yet intense to blistering and encompassing without notice. Ware's passages over the top of Ali's pulsating drums are rapturous.  Ali later gives way to an emotional yet sparse Moore who utilizes the space underneath to set some key tones. Ware and Parker later rejoin in a subtle blues-like fashion before they all fade to black.

"Duality Is One" actually does start off with "some-what slightly" noticeable string of chords, before spinning into the main theme--an improvised battle between drummer and saxophonist. It's great to see both musicians challenging each other and hit near unreachable notes. Ware really wails and Ali adjusts to the call with ease just as Ware's usually sparing partner William Smith has done for years. "Ancestry Supramental" and "Crystal Palace" both feature some tight rhythmic patterns from Moore that counter Ware's frenetic flow along with Parker and Ali's pulverizing timing. There are hypnotic moments in both pieces no matter how chaotic it may sound.

Planetary Unknown is the sound of an elder statesman who hasn't lost a single step. David S. Ware keeps reaching upward and out. Leaving this world and showing us the way to a new altogether more interesting one. All aboard...

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...