Resonance Ensemble: What Country Is This?

Resonance Ensemble

What Country Is This? (Not Two Records; 2012)

Ken Vandermark (sax, clarinet) 
Mikolaj Trzaska (sax, clarinet)
Michael Zerang (drums)
Tim Daisy (drums)
Steve Swell (trombone)
Per -Ake Holmander (tuba)
Dave Rempis (sax)
Magnus Broo (trumpet)
Waclaw Zimpel (clarinet)

One of Ken Vandermark's larger ensembles, Resonance, has always expressed itself with poetic vibrancy. On the groups latest, What Country Is This?, they again explore sound through a series of rising arches and steady calms. And as usual, spanning three long epic pieces that investigate some of the influences of Vandermark.

"Fabric Monument" (dedicated to Polish poet, Czeslaw Milosz) drops down like an anvil with intersecting horn sections opening up in fine Ornette Coleman, Albert Ayler fashion while later settling down into a dark sprawling, almost New Orleans funeral celebration. The second piece "Acoustic Fence" illustrates a series of ascending themes with the ensemble in devilish marching mode. Dedicated to the great Polish composer, Witold Lutoslawski, this piece has multiple layers and varying harmonic structures. Broo and Swell lead the group through a series of crackling improvised movements off-set by some terrific work on the drums by Daisy and Zerang.

The final piece is dedicated to the late, Fred Anderson. "Open Window Theory," is a great showcase of how the American and European free form ethos has evolved over the last two decades. Opening brightly and hovering just overhead, Vandermark and company deliver a message that has a chamber ensemble quality to it. The sound is broken into jagged chords and quickly electrified by Trzaska and Zimpel. Rempis, Vandermark and Holmlander each pour a great deal of haunting muted tones across the canvas before the rest of the group rejoin and turn the piece into a funky, Chicago blues style portrait. While Anderson was never a funky player, Resonance show the explosive and exploratory nature that embodied Anderson's music for over four decades.

Vandermark's Resonance Ensemble continues to astound with each record. What Country Is This? is just another brick in the foundation of one his best ensembles outside of the Vandermark 5. Definitely an album of the year on our desk. But isn't every Ken Vandermark record!?!

Lorenzo Feliciati: Frequent Flyer

Lorenzo Feliciati (bass, guitar, electronics)

Frequent Flyer (Rare Noise Records; 2012)

I hadn't really listened to much of Lorenzo Feliciati music before but this latest release has got me intrigued. Frequent Flyer is a surprising record that spans both rock and jazz. And while his roots have always been firmly planted in both genres, this album seems to beam with more urgency and cohesion.


The addition of a diverse selection of musicians from both musical camps adds to the intense and exciting dynamic of this session.

"The Fastwing Park Rules" sees Feliciati laying out a dark set of tones that are both bluesy, romantic and still futuristic. The basslines are slow and revolving, while Bob Mitzer adds a great deal of impassioned chords on top of Feliciati's notes. Rich and very effective. Wayne Shorter's "Footprints" (made famous by both Miles Davis and Wayne Shorter at different time periods) receives a very funky Latin twist. Feliciati gives an interesting rendition that I had never thought about. The drum work from Gualdi is fierce. Hearing Miles' lines as a bass is very shocking and turns out to be really cool.

"Perceptions" provide a calming cover to the pulsating rhythms that proceed it. It's an ethereal journey whistling with gentle piano melodies and drones that quietly reminded me of Durritti Column or mid-period Cocteau Twins. This was outstanding only until you get to the next track, "The White Shadow Story" which pulls in both atmospherics and blues elements provided by Daniele Gottardo's guitar and DJ Skizo's manipulations. It's swirling and hypnotic but yet slings a very funky vibe.

Feliciati waits 35 plus minutes to unleash the crowning moment of Frequent Flyer with a rousing version of King Crimson's "Thela Hun Ginjeet." The Crimson classic is a perfect challenge for Feliciati's bass talents and he delivers with a crushing display. In addition, he does surprising very well on Adrian Belew's vocals.

Frequent Flyer is aggressive, bold and uncompromising. Lorenzo Feliciati delivers a document that really blew me away and has quickly become a recurring listen on my stereo. Frequent Flyer doesn't break the wheel of jazz fusion but it does present a constant and ambitious movement forward.

The Intersection: Sobura

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

Sobura (drums, electronics)

Organic Lo-Fi (U Know Me Records; 2012)

Jazztronica is always a hard sub genre for my friends to grasp. It's one of the natural extensions for the newer generation of musicians. Moving technology into the schematics of jazz to create new sounds and thoughts is just part of musical evolution.


That concept has been present in European jazz for the last two decades and one of the newest talents to utilize these themes is Wojtek Sobura. 

On the Polish drummers debut, Organic Lo-Fi, he fills the speakers with pulsating trip hop beats, ethereal electronics and rolling drum patterns that create a surrealistic and infectious world view.

"Blue Rooms" starts off in a romantic rhythm that almost reminded me of Martin Denny before slipping into more slow funky drummer beat pattern. There are recurring looped piano notes and electronic tones that add an ambient quality to the piece that will bolster your mood and hold your attention.

"Psycho" feels like your head has been shoved into a toilet during a pub fight. Bubbling repetitive beats that still present a sense of experimentation and excitement that you just don't get on the American shores. "Turkey" has this scary cinematic sci-fi vibe that got me thinking about Japanese monster movies (I've also been watching a lot of Japanese monster movies lately. So go figure...). The electronic manipulation Sobura demonstrates here is probably the most adventurous on the album. It's loud, chaotic and dominating. Big beats like a Roots Manuva instrumental track. "Turkey" is arguably my favourite track on the album right now.

"Bells" closes out this groovy little adventure. No letting up here by Sobura. It's a heavy tone that features some nice effects and drum loops. Short (just under 3 minutes), but it leaves the lasting impression that Organic Lo-Fi is a rich and well balance affair.

Wojtek Sobura has a very specific way of playing that maintains focus and becomes enveloping. It is the compositions that he has written that really are the driving force on Organic Lo-Fi. They are captivating and indicative of an artist wanting to explore new sounds and directions. A very impressive debut that is worth seeking out.

Niels Lyhne Lokkegaard: Vesper

Niels Lyhne Lokkegaard (sax)

Vesper (Hiatus; 2012)

Jakob Bro (guitar)

Ole Visby (clarinet)

Birgit Bogh Sonderiis (clarinet)

Mette Alro Stoktoft (clarinet)

Jakob Buchanan (flugelhorn)

Marilyn Mazur (percussion)

Niels Lyhne Lokkegaard has matured with each record. His style has always been dense and emotional but it has grown deeper and more atmospheric with each release.

On his fourth album, Vesper, Niels Lyhne Lokkegaard has created a grand and ambitious work that simply overshadows anything else he's done to date. It's a massive achievement--brilliantly written and performed.

The Danish saxophonist sets the tone for that on the title track with a suite that is dark, ethereal and arching. "Vesper I-IV" contains some lovely lyrical patterns. Lokkegaard places special focus on the wind instruments to emphasize the harmony. Jakob Bro's guitar provides the sonic sculpture that delivers the gentle impact throughout the the suite. Buchanan and Bro share an expansive conversation on the final movement  - haunting and beautiful.

Lokkegaard utilizes space and tempo on "The Lover," a ballad that is as poetic as it is cinematic. Mazur illustrates her unique brilliance on "Alogl I-II." Her brushes and percussion are percolating and tantalizing. Lokkegaard creates a lush atmosphere that reminded me of recent work by Stanko or Rava.

Vesper is Niels Lyhne Lokkegaard most dynamic statement yet. It's beautiful like a clear night sky and shows the blossoming of a strong composer and musician. Vesper will be one of our favourite albums of 2012. Highly Recommended.