The Intersection: Ebo Taylor

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


Ebo Taylor (vocals; guitar)

Appia Kwa Bridge (Strut Records; 2012)

Pretty much since arriving back on the scene (acclaim-wise) in the last five years, Ebo Taylor has become one of most notable world music/Afrobeat artists around. His last record, Love And Death was one of JazzWrap's records of the year in 2010. Now Taylor has done it again for us with the release of Appia Kwa Bridge.

A terrific blend of jazz, Africa and folk rhythms that is emotional powerful and musically stunning. Built around love, loss, fear and rejuvenation, Taylor takes you on a journey that is for brave. Beginning brightly is "Ayesama," a victory song of the Ghanain ethic group Taylor belongs to, the Akan people. This group holds great stature throughout the community, not in the sense of elites but in sense of standing up for what they believe. This anthem could easily be adopted as the sign of strength for others feeling oppressed and need to be uplifted and reach higher for victory.

"Nsu Na Kwan" builds on a number of percussive beats but is also driven by Taylor's soft and enthralling delivery both on guitar and vocals. "Appia Kwa Bridge" is a meeting place for friends, lovers and more to express their views and outlook on life, love and beyond. Boyuant and filled with dreams, this bridge could tell the story of many Ghanaians.

"Barrima" is the most affecting track on the album. Speaking directly to the loss of his wife just a few months ago, this track has all the emotional impact that live on its own from the rest of the album.  The piece is Ebo alone, on acoustic guitar with only his soul on show. Touching and embodying why music is important to our lives.

With Appia Kwa Bridge, Ebo Taylor has going back to his acoustic and lyrical roots. It's even more dynamic than Love And Death but shows the living legend has more messages to deliver to us all about life and how to live it. One of our albums of the year. HIGHLY RECOMMENDED!

Tom Tallitsch: Heads Or Tales

Tom Tallitsch (sax)

Heads Or Tales (Posi-Tone Records; 2012)

Dave Allen (guitar)

Mark Ferber (drums)

Jared Gold (organ)

You know those albums that you fall in love with immediately after about two songs in--well this one of those albums. Tom Tallitsch delivers a killer does on hard bop that is fueled by both some heavy chops as well as crisp songwriting. His fourth album (first for Posi-Tone), Heads Or Tales is simply an awesome display of muscle and dynamics.

Like a late night jam session, Heads Or Tales kicks off in fine form with "Coming Around," a real barn-burner. Tallitsch rips through a number of chords and his newly assembled quartet adds fuel to the fire with Allen and Gold sparking hot exchanges that match the saxophonist's muscle.


The luscious ballad, "Perry's Place," is absorbing. Tallitsch gives a deep soulful performance that instantly grabs you. Gold's organ stays close with a rhythm providing strong effect. Feber's drums are tempered here but still add soft touches just under the melody.

"Travel Companion" is a well paced midtempo piece in which Tallitsch allows Gold and Allen to show-off some solid individuality. Tallitsch comes back in to bring the band home with some warm tones as closing notes.


"Dunes" moves along swiftly and sweetly. Ferber conjures up some nice patterns that rise and fall alongside Tallitsch rhythms. Allen lays down some chords that felt almost early George Benson-esque. For some reason I kept gravitating back to this track. There's something quietly entrancing and beautiful about the harmonies that you might find as well.

Closing out on Neil Young's "Don't Let Bring You Down" is pretty brave. And you almost don't recognize it until you get to the chorus. This introspective ballad gets a heavy treatment that ends up being more surprising than you would originally imagine. It's treated with care but still creating its own identity.

Heads Or Tales is more than just another solid session for Tom Tallitsch. It's a document that really should awaken the eyes and ears of many would need to know his name and his skill as a composer and musician. 

Aruan Ortiz: Orbiting

Aruan Ortiz (piano)

Orbiting (Fresh Sound/New Talent; 2012)

Eric McPherson (drums)

David Gilmore (guitar)

Rashaan Carter (bass)

Aruan Ortiz was one of the outstanding contributors to Esperanza Spalding little known first album, Junjo. His playing is calculating and well developed. I freely admit that I don't own much other than his previous quartet record and the Spalding album but I really believe he is a serious rising talent.

Only on the scene for a few years, he is slowly becoming a well known name within the scene. His style at times reminds me of a young Chick Corea. 

His second (fourth as leader) album with his quartet, Orbiting is a wonderful and elegantly executed session that takes chances when needed and stays reverent on others. "Orbiting" features a set of stellar performances by Ortiz and Gilmore. Ortiz seems to move freely and applies a great deal of emotion with each chord. Gilmore's patterns add a nice groove that also turns bluesy on the next track "The Heir." This number includes a number sparkling movements by Ortiz and McPherson that ascend into a massive crescendo towards the end.

Ortiz shows adventure and inspiration with his version of Ornette Coleman's "WRU." A good dose of improvisation by Ortiz and Carter. Their movement together is fluid yet pulsating.

Deep, emotional and intensely rewarding. Aruan Ortiz has produced a superb collection that pretty much everyone will find a big surprise. Orbiting is modern yet still rooted in tradition. Highly Recommended.

Ballrogg: Cabin Music

Ballrogg (trio)

Cabin Music (Hubro Music; 2012)

Ivar Grydeland (guitar)

Klaus Ellerhusen Holm (sax, clarinet, electronics)

Roger Arntzen (bass)

Ballrogg started as a duo exploring minimalist motifs with guest musicians joining in the creation of their organic sounds. Now expanded to a full trio with the addition of Ivar Grydeland, Ballrogg feel very expansive and even more creative. With their brilliant new album, Cabin Music, you'll actually want to go out and tell as many friends as possible.

Opening on an experimental folk tone with "Swedish Country" uniquely describes the Scandinavian musical landscape. A rolling pattern led by Grydeland's pedal steel guitar and swirling notes from Ellerhusen on clarinet make this journey beautiful and transcendent.

"Sliding Doors" is built on a repeating chord led Arntzen. Rydeland and Ellerhusen both improvise around it with creative resonate effect. The piece has a number of ebbs and flows that eventually led to Ellerhusen's sax gently riding the piece to its closing.

A short album (four tracks at a total of 35 minutes), Cabin Music still conjures up a great deal of inventiveness. An interesting comparison might the American low-fi trio Low which has crafted this ethereal minimalist folk for over two decades. Ballrogg, though, have manage to add a cold European beauty this sound that makes more than just meditative. It becomes enriching, passionate and reflective. Cabin Music sees this new trio bursting with new found direction.