Cakewalk: Wired

Cakewalk (trio)

Wired (Hubro Music; 2012)

Oystein Skar (keyboards)

Stephan Meidell (guitars; bass)

Ivar Loe Bjornstad (drums)

A poetic slice of noise that is both surrealistic and harmonically beautiful, Cakewalk, a Norwegian trio meld their rock influences with European improvisation to create a frenzy and captivating debut, Wired,  that is meant to heard loud.

Hailing from a series of bands, Skar, Meidell and Bjornstad make an opening statement with "Glass" and "Descent," two divergent pieces that really lay the groundwork for the session. "Glass" is steady repetition of sounds that is like Steve Reich meeting Slowdive. Peaceful, experimental and introspective but retaining a nice sense of intrigue that keeps the listener on their toes. 

"Descent" opens with echoing effects and distortion that quickly builds into Sonic Youth style cacophony. Soaring guitars and crashing drums mixed with drowning keyboards provide a raw indie rock dynamic to the piece that would draw in fans of fusion and rock.

"Soil" is a manner of calm that might float effortlessly. It is heavy in atmospherics with a slow moving melody that quietly becomes hypnotic. "Wired" rips along like a piece of John Zorn's Naked City. I loved this track. It's vicious, loud and full throttle till the end. The trio put forth a lot of fire in this piece and you can't help but be thrown into some hyperactive fit afterwords.

Wired is filled with elements of rock, Krautrock and fusion. But at the end of it all, it's still Cakewalk that comes screaming through. This is an impressive debut that if you like your music hard, loud and expansive--you might have found one of the best records for that all year. Enjoy...

The Living Room: Still Distant Still

The Living Room (trio)

Still Distant Still (ILK Music; 2012)

Torben Snekkestad (sax; trumpet, electronics)

Soren Kjaergaard (piano)

Thomas Stronen (drums)

Precious, spacious, expressive and minimal. All the best words to describe this latest experimental trio from Norway featuring Torben Snekkestad, Thomas Stronen and Soren Kjaergaard as The Living Room.


Their highly impressive debut, Still Distant Still, was built out of a number of live performances and in the studio that energy is just as intense and beautiful.

Like its title, the album is filled with space that holds you in place but displays a freedom and unique curiosity of performance that leaves you wondering what note will be played next. "Tremelo Hiving" quietly moves along with long breathy squeals by Snekkestad and crackling improvised tones by both Kjaergaard and Stronen.

On "Still Distant Still," the trio execute a fine pattern of improvised notes led by Snekkestad and rolling divergent notes by Kjaergaard. Snekkestad stretches the air in the middle of the piece while Kjaergaard and Stronen add a layer of haunting effects over the top of notes.

"Rainbow Stomp" is the dark, loud polar opposite to "Still Distant Still." It's builds viciously from the start, an intense discordant exchange between all members sets the path for this number. The space is consumed by tweaks, squeals, crackles, muted manipulations and pulses that all form a beautiful cacophony that carries out to it's ending.

"Mustard Variations" could sit nicely inside the John Zorn songbook. It's short, staccato patterns reign down on you like large balls of hail. Stronen and Snekkestad are the most prominent here with a blast of humour and subtle rhythmic tones and almost suggest they were going to break into a melody. A raucous of noise but still revolving around the theme of experimenting with sound.

Still Distant Still is a powerful debut from three well known and prolific improvisers that demands you seeking it out. The Living Room hopefully is not just a one off. Let's hope we get a few more albums out of this trio in the close future. Excellent stuff.

Esperanza Spalding: Radio Music Society

Esperanza Spalding (bass)

Radio Music Society (Concord Music; 2012)

Now that I've spent the last year absorbing the music of Esperanza Spalding, I have to say you might not have expected the transformation that her music gone through. But you would be impressed with the muscularity and maturity of writing over the course of the last four records.


From the Brazilian influence of Junjo and Esperanza to the fully functional concept of Chamber Music Society; her performances have  been bolder and more confident. The latest, Radio Music Society now moves her to a different level in the more popular audience view. It's a massive achievement and strong step forward.

Sounding more like Soul-jazz and R&B than even its predecessor, Radio Music Society really knocked me out. Spalding's vocals dominate this setting more than her bass but that's okay. You get a taste of that with the opener, "Radio Song" which declares this outing will be a different beast altogether. The thumping beats, slow funk lines and chanting that--"this song's the one"--make the statement that this session is more for popular consumption.

"Black Gold" is probably the anthem piece here. A midtempo piece discussing how Black people should stand proud. While lyrically it speaks to the Black American consciousness, it can easily be directed to everyone as a sign of inspiration. Lionel Loueke's personal and bluesy guitar work add just the right tone and reflectiveness that make "Black Gold" very striking.

"Hold On Me," a more classic big band sultry ballad seems to work better than I originally thought. Janice Scroggins leads the line here with some work on the keys that joins sweetly next to Spalding's lovely vocal delivery.

"Smile Like That" has shades of 70's soul jazz records. Spalding's bass is more prominent in the mix and Leon Genovese adds a groovy bit on the fender rhodes to make the sound very organic. Gilad Hekselman's guitar forces a rock treatment into the mix but it doesn't become overbearing. An interesting closing number to an album that is very diverse and bold.

Everyone may argue the merits or talent of this young bass player/composer. I've accepted this as a Soul Jazz record not a contemporary jazz piece, and I have been solidly convinced - She is the real deal.

Built on a slew of themes, Radio Music Society may not be many folks cup of tea on the jazz side. It's definitely a strong follow up and well deserving of the positive attention from the wider musical public. And if this is the entry point for some to jazz so be it. It's a great way to start. Highly Recommended.

Dennis Rollins: The 11th Gate

Dennis Rollins (trombone)

The 11th Gate (Motema Music; 2011)

Pedro Segundo (drums)

Ross Stanley (organ)

He's only been on the scene a short while but Dennis Rollins has garnered praise in U.K. circles. First through his soul-jazz outfit, Badbone, which had more in common with the work of Soweto Kinch or mid-period Courtney Pine than "traditional" straightahead jazz. His latest incarnation is his Velocity Trio which also explores a variety of themes on its debut, The 11th Gate.

For me, Dennis Rollins has a unique and uncanny way of turning the sound of his trombone into the sound of a saxophone. And he displays that throughout The 11th Gate, along with some very surprising arrangements which makes this a fresh and exciting listen. "Samba Galactica" jumps with fine classic Latin grooves and some soulful organ work by Stanley. Rollins seems to have maintained his R&B/Hip Hop influences but channeled that into a very mature modern structure this time out.

An uptempo vibe filled with some lovely passages by each member flows through on "Ujamma." The trio show elements of both hard bop and spirituality that digs deep and wide. Rollins feels relaxed and seems to be having a great deal of fun. This moves slow to fast quickly, along with changing drum patterns and echoing effects on Rollins' trombone. Stanley has a sweet solo that is filled with some lush tones that are amazing.

"The Big Chill" is fantastic, featuring a dazzling mixture of time changes by Segundo in the opening passages. In addition, Rollins lays down some humorous and well crafted notes in juxtaposition. The piece later switches to a very funky, psychedelic rhythm with Rollins on muted trombone. "The 11th Gate" with it's gospel influence refers to Rollins' 47th birthday (4+7=11). But even more importantly its a special way to close out this album. It's downtempo but reflective piece on how we should be seeking a more positive connection to each other and our place in the world.

In just a few short years, Dennis Rollins has quickly matured and balanced his R&B influences with desire to go beyond the numbered structures of jazz. With his Velocity Trio he has a very unique and industrious group that hopefully will record more frequently. The 11th Gate is a brilliant work.