The Intersection: Outerattik

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.

Outerattik (electronics)

Attic (Self-produced; 2012)

Jamie Smith, aka Outerattik, is one of those rare finds that you go, "this is too cool, I have to tell all my friends." Well, I'm kinda of gonna do that.


A well focused EP in the form of Attic, introduces us to this Edinburgh, Scotland native. Attic delivers a vibe that is rich in jazztronica but also refreshing in the way that shines with vitality and soul.

"Nineties Man" while referencing the sound of early trip-hop also has a nice slice of 70s funk in form of a hammond B-3 sound layered over the drumbeat. Smith gives the piece some real soul and charm while also providing a calm background for the senses.

"Electro Funk #50" is a space age tingler that uses some great 80s videogame vibes to create a groovy futuristic soul that will have you bobbing your head but also intrigued by the simplicity and effectiveness of piece. This is a more subdued version compared to the original which laid on a heavy bass line that pounds right into chest with verve.

"Attic Faery," probably my favourite piece is the quiet sweeping centerpiece, that while delivering soft encompassing tones, is also quite romantic. It's got the epic qualities of Thievery Corporation blended with elegance of Tosca and soulfulness of Spacek. A standout and highly appropriate closing number.

With Attic, Outerattik have created an album that is raw, soothing and funky. Chilled out? Yes. But it's a downtempo groove that you'll want to keep coming back to. And hopefully a good sign of things to come from this young musician. Worth seeking out.

Bruce Barth: Three Things Of Beauty

Bruce Barth (piano)

Three Things Of Beauty (Savant; 2012)

Steve Nelson (vibes)

Ben Street (bass)

Dana Hall (drums)

Bruce Barth is one of the most respected pianist on the scene and rightfully so. A talent with a discography that stretches now to 12 albums and countless guest appearances, Barth has been consistent and always refreshing.

On his latest, Three Things Of Beauty, Barth delivers a sophisticated yet bubbly document of harmonies that is sure to have fans and newcomers enthralled. Always a delicate and nimble player, Barth orchestrates some superb lines on the opener "My Man's Gone Now." The tune jumps and burst with enthusiasm. The stellar line-up of Nelson, Street and Hall gives Barth a chance to hang back in addition, allow his mates to shine, as Nelson and Street do with some lovely exchanges.

"Wise Charlie Blues" shows the continued influence Thelonious Monk has had on Barth. A complicated playfulness I always like to call it. A dedication to a dear friend of Barth's, he mixes blues, gospel and improvisation into a health dose melodica. His bandmates add blue-ish hue to the tune while Barth places the emphasis squarely on empathetic notes.

"Three Things Of Beauty," a ballad with more emotion and dreamlike qualities than I originally thought when I first listened to the tune, is sublime. Nelson's vibes echo across the melody. While Barth's presence is key here, he also allows Street and Hall to rise a little in this setting. It's much more a group piece than a usual album title track which would focus squarely on the leader.


"Wondering Why" is soulful, midtempo piece that is casual and yet still bouncy enough for you to get lost in the rhythm. The album closes with a duet between Nelson and Barth, "The Song Is You." A sweet tone and upbeat theme, the two joyously carry the listener out on a positive and festive note.

Bruce Barth has once again shown what a agile and perfect leader, composer and performer he is in almost any setting. The group he has circled himself with, while having played with them in various sessions in the past--this time they have really made sparks from beginning to end. If you haven't heard Bruce Barth before, now is the time to start taking notice. Three Things Of Beauty is one the best albums of an already glistening career. 

Troyka: Moxxy

Tryoka (trio)

Moxxy (Editions; 2012)

Kit Downes (organ)

Chris Montague (guitar)

Joshua Blackmore (drums)

There's a rock element that is enveloping British jazz at the moment. And that's actually a good thing. A new generation of musicians raised on a number of different forms are incorporating those themes into a fusion that is both adventurous and unique.


Troyka is one of those few of hybrid groups and they have delivered their second release, the intoxicating Moxxy.

Moxxy, is a mature sophomore effort from the UK trio. As with their debut, the rocking combustible time signatures are still there but now a sense of complete confidence arises within each piece. "Rarebit" bounces with electric funk and curling rhythmic structures creating a young Weather Report or King Crimson vibe across the top of the chords.

"Crawler," a beautiful slow moving blues piece is one of the highlights of the album. It plods along like being stuck in a recurring childhood fairytale with no end. Montague and Blackmore set the tone. Montague has some fantastic lines that are passionate and wrenching. Blackmore and Downes drag you along into the final passages where Montague finally lets loose with some licks that would be right home in a Chicago blues club.

"Island" and "Zebra" are both gentle, funky and cerebral. Both are raw with soft psychedelic touches of Downes' keys which on "Island" provides an other-worldly quality. And on "Zebra," the motif is more organic and a fluctuating level of funk. This is a sound that could sit neatly next John Scofield or Charlie Hunter. The sound gets big and gargantuan but maintains a clear focus that never allows the listener's ears to stray.

Troyka seems to have found their voice with Moxxy. The group has been playing together off and on since 2007 but this is the first time you feel that have captured what they really wanted to say. Moxxy is real gem for 2012. Highly Recommended.

Joseph Santa Maria: The Illustrated Man

Joseph Santa Maria (sax)

The Illustrated Man (Self Produced; 2012)

Andrew Lessman (drums)

Emilio Terranova (bass)

Larry Koonse (guitar)

The extremely versatile Joseph Santa Maria shows once again that he can bend a rhythm and conjure up something new with each album. His latest, The Illustrated Man is great example of a crisp no nonsense modern jazz record.

I first came across Santa Maria's work through the brilliant album he did with his former group, A Giraffe, an album which was one of JazzWrap's 2011 Albums of the Year. For The Illustrated Man, Santa Maria has assembled another quartet of musicians he has worked with for awhile to present a classic view with modern muscularity.

I loved the brashness of "Open Air." Strong, confident yet playful notes eminate from Santa Maria's sax followed by a complex set of patterns from Lessman's kit. The group then get into a groove with "Bud Powell" led by Santa Maria with Terranova and Koonse, performing some soft lines that give the piece a nice romantic feel underneath Santa Maria's bold and intricate notes. It's groovy but complicated, and that's a perfect mixture.


"I Saw A Color Box," a piece originally writing with A Griaffe, sounds more free form with Koonse on guitar (replacing the original piano lines). In addition, Terranova gives the bass lines a lot more muscle. "I Saw A Color Box" feels more fleshed out and I love it.

"Green And Black" a midtempo ballad with a revolving melody, allows the quartet to expriement and move in various directions but not in an avant garde fashion. This is more like floating along the edges of the original chords and creates an extra tapestry of notes that interconnect. "Making Music Time" holds a few soulful and blues-like tones and quietly leads the listener down the closing path to the conclusion of The Illustrated Man's journey.

Joseph Santa Maria again circles himself with a stellar band that not only helps interpret his material to perfection--they also make their notes their own. Santa Maria continues to grow with each project. The Illustrated Man is a more focused and linear project than his diverse work with A Giraffe--but both equally great starting points. The Illustrated Man is a solid effect from an artist that is still developing his voice but I think you'll tell your friends about this after one spin.