Miles Davis In Europe

Miles Davis (trumpet)

Live In Europe 1967 (Columbia/Legacy; 2011)

Herbie Hancock (piano)

Wayne Shorter (sax)

Ron Carter (bass)

Tony Williams (drums)

For many jazz fans we own a gazillion Miles Davis live albums (official and unofficial). But every once in awhile I like to mention a few that are must haves. Live In Europe 1967 is definitely one of them. This is a boxed set of a series of unofficial recordings (aka bootlegs) that have been on the market for years. I own two of the three included in the box already but on this first legitimate release we get a little clearer sound quality.

The really cool thing about this is that while there is a plethora of live albums involving Miles' electric period and a few with Coltrane, this quintet doesn't always get recognized despite the legendary names it includes. The quintet features a scintillating Wayne Shorter who had only recently joined the group after the short tint of fellow great George Coleman, on sax. This is the same quintet that recorded E.S.P., Miles Smiles, Sorcerer and Nefertiti. All albums that would lead up to Flies Of Kilimanjaro and of course In A Silent Way.

This was a fertile and prolific period for Miles and each of his band members. There are some fierce renditions of "All Blues" and "Footprints" where Wayne Shorter and Tony Williams are in blistering form. These were true "young lions" quickly becoming the benchmark for jazz to come. Miles sounds happy and inspired by his companions. His playing is crisp and sharp and at times free flowing. These tunes played on this date don't completely shed light on what would come only a few years later but you do get a sense of Miles thinking more about the freedom of space for his members to create within. "Masqualero" played at each of the three nights in this box is intense and has an aggression that pulls the listener in with each note. Shorter, Hancock and Miles drill you into a meditative mood with great ease.

The dates recorded here find a group that was in fine form and played with exquisite speed and beauty. And while some may ask, why do I need to buy another Miles record? Well the short answer is, because its Miles silly. But seriously, Live In Europe 1967 really did deserve an official treatment and release. The accompanying DVD of live footage also adds to how great this quintet was. And surprisingly the box is reasonably priced making it affordable for collectors and those wanted to investigate a different side of Miles live. You can also check out some of JazzWraps other thoughts on great Miles Davis live albums here.

Sean Nowell: Stockholm Swingin'

Sean Nowell (sax)

Stockholm Swingin' (Posi-Tone Records; 2011)

Fredrik Olsson (guitar)

Joe Abba (drums)

Lars Ekman (bass)

Leo Lindberg (piano)

Well, swingin' is definitely the best way to describe Sean Nowell's third album on Posi-Tone, Stockholm Swingin'. It's a well balanced and straight-ahead killer set from the Alabama native now New Yorker.


Establishing himself as a solid performer and laying in a steady stream of clean accessible rhythms in this live setting, makes Stockholm Swingin' an enjoyable listen and enticing venture for every music fan.

Stretching and flexing notes like Dexter Gordon or Sonny Rollins, Nowell sets a fire in a live session. More scintillating than his previous two releases only in the sense that in the live setting you really get a better feel for the band, the arrangements and Nowell as a performer. "Ack Varmeland, Du Skona" (more known loosely as "Dear Old Stockholm" for the rest of us) is smokin'. With the usual infectious top-tapping notes delivered beautifully from Lindberg and Nowell, this classic number takes on rich lively tone. Juxtaposed with the great performance from Fredrik Olsson it feels like a Kenny Burrell/John Coltrane session or a flavourful early George Benson album.

Nowell's own "NY Vibe" is cool and bluesy at times. It really does spell out New York for those of us who have experienced the scene for years. A great little number that even my kid was flipping out over. Nowell pulls a lot of punches with these original compositions. His playing is bold and has a lot of strength. "NY Vibe" has a lot more in common with his previous record The Seeker. It's a burst out of speakers and spell a presence of an real entertainer.

The entire quintet set a real pace and impact on "Sweet Night", written by Lingberg and Olsson. Nowell allows the guitarist to take to the fore but the rest of the group are in unison adding stylistic touches that standout in their own way along the path. Nowell rejoins the group just in time to tear into the mid section; adding a buoyancy and vitality that blisters with life.

With Stockholm Swingin' you get the feeling if you've been listening to Sean Nowell for awhile and that he really let the wheels off the wagon and just went for it this time. This is a live session that works on many levels. It's perfect for many traditionalists and a nice opening for new fans. This is the sound of modern standard jazz. It is good for all. Enjoy...

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...