Josh Berman: There Now

Josh Berman (cornet)

There Now (Delmark; 2012)

Jason Adasiewicz (vibes)

Joshua Abrams (bass)

Keefe Jackson (sax)

Jeb Bishop (trombone)

Frank Rosaly (drums)

Guillermo Gregorio (clarinet)

Jason Stein (bass clarinet)

Josh Berman has once again created an album built on traditional themes but with highly evolved modern structures. There Now, his latest with a revolving but closely knit contingent of the Chicago free jazz scene, Berman combines the aforementioned ideals and presents them all anew for the modern generation. It's a blast to listen to--even for the newcomer to Berman's world!

There Now is a superb homage to late '20s large ensembles, not that unsimilar to Josh Berman's outfit. But Berman also drops in his own compositions which fit nicely and build a bridge between past and future. The group work through new Berman material as well as classic but rarely heard tunes and really put their own stamp to it.


"Sugar" is almost unrecognizable under Berman's arrangement. A tune originally featuring the great Jimmy McPartland on cornet, Berman's version keep the fresh ferocity of original but infuses it with modern tempos and free movement that is reminiscent of his work with Chicago Luzern Exchange. There's a killer solo by the versatile Frank Rosaly towards the end the Gene Krupa would be proud of (or he'd probably yell at him for being so good).

"Cloudy," a Berman original, Bishop and Jackson takes the early lead with strong exchanges which are fascinating to absorb. The latter end of the piece is dominated by Adasiewicz's splendid dreamlike notes on vibes.


The ballad "Jada" sees Berman sticking slightly the traditions of the Bob Carleton original, but allowing the Gang to spin off two-thirds of the way in to improvise. Jackson stretches the sound and elevates the group upward. This is sublime compositional skill from Berman who fuses benchmarks with new forms to create a piece that is fun, intriguing and delightful.


Closing out with "Mobiles And Blues" provides the octet a chance to bring the session into the 21st Century. Harmonics and fallen structures all folding into final signal of goodbye and see you soon.

There Now swings with creativity while bridging the gap between past and future. Josh Berman is also giving all of us a nice lesson of where jazz started and a new direction of where it can go. Highly involved and highly recommended.

Interstatic & Metallic Taste Of Blood

Interstatic (trio)

Interstatic (Rare Noise Records; 2012)

Jarle Vespestad (drums)

Jacob Young (guitar)

Roy Powell (organ)

Metallic Taste Of Blood (quartet)

Metallic Taste Of Blood (Rare Noise Records; 2012)

Eraldo Bernocchi (guitars)

Colin Edwin (bass)

Jamie Saft (piano)

Balazs Pandi (drums)

Two very interesting and very different records from future fusion label, RareNoise, to talk about today. First, a lovely post-modern piece from the trio Interstatic. Then a real slice of grinding and pulsating rhythms delivered by the quartet, Metallic Taste Of Blood.

Keeping in a very similar tone as their debut, Anthem, Interstatic have delivered a delicate and enchanting self titled second effort that will resonant with fusion fans. Jacob Young seems very loose and inspired in this more free arrangement of sound. Vespestad is a bit more reserved but sound excellent as always. This seems to be the nature of this trio which provides a mellow shade of joy, reminiscent of early John McLaughlin's works.

"Stills" and "First Vision" both open the window for the listener, into a gentle almost folkish journey with swirls of psychedelia as layered by Powell's organ. "Elevrum Incident" is where this trio really rock out and sound like some of the best fusion of '70s. It's tight, crisp, funky while still maintaining a clever jazz unity. A rewarding second effort that builds on Interstatic debut.

Moving in a slightly different direction, Metallic Taste Of Blood, debut with a self-titled release that is exciting not only for a rich sense of ideas but also its solid musicianship. Featuring members from diverse sonic backgrounds (Merbow, Masada, Porcupine Tree, and ambient collaborations), Metallic Taste Of Blood is big of sound. The use of echoing effects and an all-out purpose of grandeur makes tracks like "Sectile" and "Schizopolis" powerful statements that have to be heard over and over. 

"Schizopolis" is a monster tune that features funky and pounding drum lines, quirky keyboards and insane guitar riffs that might make Robert Fripp smile. "Bioplar" somehow blend the ethereal aspects of Bernocchi has done with Robin Guthrie with the wall of sound of Metallica, creating a beautifully harmonic piece. "Transverse" perfectly closes this album on a cinematic tone. It's not as forceful as it proceeding numbers and has just the right blend of ambient textures.

Two stellar releases with different angles to enjoy. Interstatic with a really well balanced and advanced second effort of folkish fusion. And then the avant-rock of Metallic Taste Of Blood that combines a host of rock ideas into a other-worldly affair. Two releases well worth seeking out.

Wadada Leo Smith: Ten Freedom Summers

Wadada Leo Smith (trumpet)

Ten Freedom Summers (Cuneiform; 2012)

The Golden Quintet and The Southwest Chamber Music

This is unlike any other Wadada Leo Smith record I've heard. It's extremely well focused and makes a real emotional impact. Smith's resurgence in the last 15 years has brought with it a slew of releases and a host of ideas. With his latest, Ten Freedom Summers, Wadada Leo Smith has produced that single masterpiece of both personal and public history. Even more so than his earlier large ensemble work on Tzadik in the mid-nineties.

Named for the summer of 1964 when a massive campaign was undertaken to register African Americans to vote, Leo Smith takes a wide look at America's historic struggle over the course of 1954-1964. Where we've come and how far we still have to go.

Performed by two ensembles, his Golden Quartet/Quintet and The Southwest Chamber Music, Leo Smith shows off two distinct sides of his compositional skills. First, his ability to continually write challenging and inspiring music in contemporary settings, and second, a staggering vision for large ensembles. This creativity was on display recently in New York as part of his birthday celebration this past winter. But with Ten Freedom Summers you get the full breath of what the live evening was probably just the rehearsal for.

"Dred Scott" is intense, dark and deeply personal. The rolling piano and Leo Smith's fierce trumpet lead the opening salvo. The quintet then proceed through a number frenzied chords which you could say resembles the chaos of the early struggles of African Americans during the late 50s. Leo Smith's playing is supreme here. You can feel this energy and life that overshadows previous efforts of the last few years. As with many of the quintet performances on this epic journey, you get a sense that he has said to the group "challenge yourself."

"Emmett Till" and "John F Kennedy" are more extended pieces that quietly carry the listener on a painful yet painful yet spiritual journey. Leo Smith's writing for the larger ensemble piece "John F Kennedy" is astounding. It's fresh and staggering. You might have expected something in the vain of Philip Glass or Steve Reich. Instead it's more Shostakovich or Wagner. Heavy and powerful.

"Freedom Summer," "Lyndon Johnson's Great Society," "The Little Rock Nine" rely on the always superb Susie Ibarra to deliver the driving open chords to present a cinematic tale. Anthony Davis on piano, Jim Foschia on clarinet and The Southwest Chamber Music give both pieces a wide open yet haunting sonic texture, with the addition of sharp intersecting lines by Leo Smith.

"Democracy," a Golden Quintet piece is the closet thing you'll get to the more recent free jazz aesthetics of Leo Smith's recent work. Leo Smith allows the musicians to roam freely throughout but all lines are squarely focused on the main themes that Leo Smith returns to at the end of piece. Short, concise and elegant tones and passages.

Ten Freedom Summers is a piece that should be listened to without thinking about the history, particularly if you are an American. American Jazz has produced a number of historical statements in reaction to oppression and in association to civil/human rights. Wadada has created a document that is about the struggles over adversity that all cultures have and will continue to grapple with. And grapple we shall. Until we truly can say we have overcome.

Highly Recommended and a truly staggering work of genius. This really ranks up there as one Wadada Leo Smith's best works.

Motif: Art Transplant

Motif (group)

Art Transplant (Clean Feed; 2011)

Havard Wiik (piano)

Ole Morten Vagan (bass)

Hakon Mjaset Johanson (drums)

Atle Nymo (sax)

Axel Dorner (trumpet)

Motif is a Norwegian quintet that is celebrating just over ten years on the scene. Each of the members has a stellar career on their own, but together they have produced four phenomenal albums that rely on modern thinking but root themselves in the traditional ethics of improvisation. Motif's latest, Art Transplant is their first for Clean Feed Records after two acclaimed records for Jazzland and Aim.

Art Transplant feels like it was always going to be the right move for the band. It's risky and combines elements of the ensemble's modern thinking with more adventurous muscle than previous records. "Korean Barbeque Smokeout" starts with a bit of quiet investigation from Nymo before the rest of the band burst through with a collision of sound. The explosion rips the fabric of the harmonics and makes for a beautiful convergence of ideas; at times feeling like Ornette Coleman's quartet circa Shape of Jazz To Come.

Dorner and Nymo provide an intense but also playful exchange at the beginning of "Alkiis" which later levels off to improvised dialogue between Dorner and Wiik. Gradually each member returns and the melody ebbs into exchanges for Wiik before the group finally comes full circle for a rousing conclusion.

The inquisitiveness of "Something For The Ladies" with Nymo on clarinet playing rich lines that reminded me of Don Byron. The piece is frenetic but with a soft tone just underneath the wind instruments. It's sneaky like nice slice of spy-jazz from the 60s and great mid-section where Wiik gets to fly were some terrific improvised notes.

Motif has shown that each album is more diverse than the next. With a solid lineup that doesn't seem to change, the ensemble is always in complete unison. And with Art Tansplant, they've shown that their unity breeds exciting creativity and fluidity.