Red Trio: Stem

Red Trio (w/Nate Wooley)

Stem (Clean Feed; 2012)

Rodrigo Pinheiro (piano)

Hernani Faustino (bass)

Gabriel Ferrandini (drums)

Nate Wooley (trumpet)

Like the old saying goes, "wine gets better with age," so too does the fantastic Portuguese group, Red Trio.

A phenomenal yet minimal self-titled debut that features a wide array of improvised occurrences with stellar insights in composition went further with the follow up, Empire. Empire featured British saxophonist, John Butcher as the interpretive foil to the trio's experimental exploits. This session seemed to awaken a challenging spirit within the band (especially on the title track). Now that inquisitive spirit has collided with the free form agility of one of my recent favourite trumpeters, Nate Wooley for the superb, Stem.

This quartet came together only a few months ago as a live collaboration but you can feel that Red Trio quickly developed a unique chemistry that makes this session even more personal and entertaining than Empire. The outstanding opener, "Flapping Flight" features jagged edges and improvised chords by the trio intersecting with short delicate notes by Wooley that rise and fall with romantic flavour. The piece expands as it moves into it's middle movements and creates similar exchanges to that shared on the trio's work with Butcher. Wooley and Pinheiro share a rolling battle of notes towards the end that is both captivating as it is complex.

Pinheiro's playing is at times very straight while delightful chaos occurs around him. "Ellipse" is one of those moments. Pinheiro's performance is almost Jarrett-esque but it is punctuated by canon of experimentalism on display by the rest of the group. Ferrandini's drums put on a quiet Billy Higgins type display. Rhyming when necessary and floating freely when called upon. Wooley goes from a stoic and melodic tone to dark quiet breathy exchanges with the trio almost silent adding a haunting yet organic nature to piece that is revelatory. 

"Weight Slice" has a frenzied pace that holds the listener in place while short burst of notes almost coalesce into one pattern but then brilliantly explode in the opposite direction. Wooley has individual dialogues with the trio throughout this piece. "Weight Slice" is probably the best example of the camaraderie this group has developed in such a short amount of time. The quiet almost ethereal departure of "Tides" is remincesent of Red Trio's debut. A spacious conclusion with slow droning effects and low tones that make you stop and investigate each note.

Stem is the best work to date by Red Trio and the addition of new musicians over the last two outings has only made this group better, inventive and fresh - like aged wine. Stem is one of those albums that will last with you all year long. Highly Recommended.


This is an older video but does highlight the creative thinking within the bands structure.

Andres Thor: Monokrom

Andres Thor (guitar)

Monokrom (Dimma; 2012)

Scott McLemore (drums)

Porgrimur Jonsson (bass)

Agnar Magnusson (piano)

Taking time off from their more electric outings as ASA Trio, the band members have returned to working on solo material. The first to release new material this year is guitarist, Andres Thor. His third solo album, Monokrom, is a fusion of traditional melodies and modern harmonics. Joining him are his fellow ASA Trio mates and Porgrimur Jonsson on drums. This fully formed quartet brings out the best in each musician over the course of almost 60 minutes.

Thor's sound continues to mature and move from strength to strength but always with calm and a playful attitude, Thor demonstrates an excellence balance between Wes Montgomery tradition and Bill Frisell or John Abercrombie modern folk. "Monokrom" opens with a sense of fruitfulness and pleasure. Soft, romantic tones emitting from Thor's guitar and accompanied with sweet agility by Magnusson. With "Pink Wilco," Thor has written a piece that allows Jonsson and Magnusson to slide in and out seamlessly with his blues like melody.

Thor displays a great deal of passion in his performances throughout Monokrom. That Frisell vibe I spoke of early is noticeable on the folkish ballad "Heima." It has a wonderful and joyous feeling to it that gives a real sense of a travelogue. Injecting a little bit of funk into the session with "1922," Thor and rest of the band begin to flex their muscle. A forceful rhythm from McLemore and penetrating notes by both Jonsson and Magnusson make "1922" a rise and infectious number that is enhanced by the echo of Thor's lap guitar.

"Sjavargrund" is a midtempo ballad with a tinge of Brazilian flavor. Thor's playing feels very comfortable in every setting. McLemore and Jonsson provide smooth lush colors that open the sound for Magnusson's keyboards. "Munchen" is a sharp and intense closing number with the group in full swing. Each member has a shining moment on this track. Magnusson is back on piano with a rich clarity. Jonsson's bass is vibrant and McLemore rips lines with ease. All the while Thor's guitar gently cuts a path for the musicians to follow.

Monokrom is strong work from a group that knows each other inside and out. Here Andres Thor has written the right material that allows not only his musicianship to shine but also illustrates his sense of adventure and ability to move freely in different forms. This is one of those superb outings that every jazz fan would be silly to miss. 

The Intersection: This Ain't Chicago

Various Artists

This Ain't Chicago (Strut Records; 2012)

I guess it's probably fitting to discuss a dance record on Friday. Usually club night for the younger generation. What's not common is to be reading about it on JazzWrap. Well that's because every once in awhile I like to kick one into the terraces.


So drifting back into my youth came the new compilation, This Ain't Chicago guided by the stealth hand of DJ Richard Sen. And it is killer education into the early roots of the UK House scene. This collection isn't out until July 10th, but I couldn't hold back talking about it.

While everyone may know my affinity for Detroit and Chicago dance music and its subsequent effect on the UK (in particular A Guy Called Gerald); you may not know or remember the majority of stellar releases from the UK during the early years. We are talking mostly 12'' and maybe a few EPs. Sen has deftly compiled these into a smooth and cohesive document that is as enlightening as it is danceable.

Ability II drop an extended trance beat with "Pressure Dub" which features a pulsating bass, crunching synth patterns wrapped inside some beautifully looped vocals and hand claps. "Bang Bang, You're Mine," from Bang The Party comes crashing down sensually with what feels like a sample of New Order's "Thieves Like Us" hiding underneath (I'm not sure about that but that's what I felt). One of those late night tracks that should play work well during a live DJ set.

One of my favourite groups/artist during this period was Babyford. Here during his early period with a typical statement piece "Crashing" which is hypnotic and reverberates long after it's over. "Iron Orbit" and "1966" (by Static and M.D. Emm respectively), start a period of haunting house beats. Very electrifying and fast paced with pounding hand claps and drum effects. Excellent.

Rio Rhythm Band adds a Latin flavour to this collection. Their track "Cubba Jakkin'" has percussion layered over a furious yet fun-natured keyboard pattern and high whistles. Funky and jacked up for the floor.

With This Ain't Chicago, what Richard Sen has assembled is a stellar collection of UK house tracks that seriously stand the test of time. With a nice mixture of heavy beat tracks, vocals and dub, Sen curates a musical journey that moves with the night. This Ain't Chicago is a perfect and probably only way to get some of these gems without paying through the arse. But for the most part its a great education on what was happening as Detroit and Chicago began to influence it's counterparts across the way. Highly Recommended.

Zero Centigrade: Umber

Zero Centigrade (duo)

Umber (Obs Music; 2012)

Tonino Taiuti (guitars)

Vincenzo de Luce (trumpet; electronics)

Crafting harmonies from nowhere is what improvisation is all about. But the duo Zero Centigrade seems to make it an easy habit. With Umber, their third release, they yet again conjured up sounds and moods that are haunting, inviting and beautiful.

Silence and the search of sound tend to make up the structure of each Zero Centigrade project. And this manifests itself early on "Tumble Down," where sudden bursts of acoustic one notes alongside stretches, creaks and found noise slowly break into your psyche like a bad nightmare.

"A Strange Season I" showers with the continued influence the blues has had on the duo. Slow patterns emerge but always evolving around Taiuti's heart tugging yet distant melody. Raw, emotional and still forward thinking. Imagine if American alt-blues guitarist Chris Whitley played with Throbbing Gristle (I sure hope some of you get that). 

The inward nature of "Stalk" and "Reflections" makes for a compelling listen. You will hear the strains of forgotten notes passing between each musician. "Far Horizon" feels distant and aching. Propelled by de Luce's superb use of electronics and Taiuti almost folkish improvisation this piece travels a long way very quickly before fading. 

Another stellar almost "third-stream" outing for Zero Centigrade that shows a continued growth and desire to see what soundscapes they can capture in a short period of time. Umber is an album that won't treat you nicely unless you let it. The beauty lies in the details. Not designed for everyone but you will find elements that will affect you in different ways. Worth seeking out.