Christian Scott: aTunde Adjuah

Christian Scott (trumpet)

Christian aTunde Adjuah (Blue Note; 2012)

Lawrence Fields (piano)

Kenneth Whalum (sax)

Matthew Stevens (guitar)

Corey King (trombone)

Kris Funn (bass)

Jamire Williams (drums)

Defying convention has been Christian Scott's mantra since probably the day he picked up the trumpet. But its definitely been his motis-operandi since his first record in 2007. Each of his albums builds on different themes and moments--social, spiritual, personal and political. Scott continues this tradition with his fifth album, Christian aTunde Adjuah.

aTunde Adjuah is his newly transformed name in Ghanaian. A spiritual and personal awakening of sort. Forget about the name for a moment and focus squarely on the music. This again is another strong diverse outing for the young trumpeter. As with most Scott numbers, "New New Orleans" is large and emotional. A soulful, passionate piece that tells the story for the city in which it is named and dedicated to. Scott's lines are sharp and bold surrounded by the swirling melody of Stevens' hypnotic guitar and the funky drum kit of Williams. It's the heartbeat of the city coming back to life.

"Who They Wish I Was" is a quiet piece with epic underpinnings. The repetitive nature of the delivery from Fields and Williams has a cinematic quality to it that draws you ever closer. Scott's horn is soft and doesn't rise too far above the mix. "vs the Kleptocratic Union" and "Dred Scott" both speak to injustices of society and the worst of our human nature. Steven's versatility is on display in "...Kleptocratic Union", as he sculpts blues-like tones that are lovely at every turn. "Dred Scott" is more suspenseful, with improvised and soaring lines that crash against each other like waring factions with no end.

"I Do" develops a soulfulness and romanticism through the exchanges of Whalum and Scott which are accentuated by Williams' heavy kit. Romantic and still powerful. "Alkebu Lan" highlights the African influence upon Scott during this session. Its a nice mixture of African beats and American funk. But it's a midtempo piece that never goes over the top.

There are times when I felt Scott's boldness sounded more European than American. "The Red Rooster" and "Cara" both have a rolling melody on piano and sonic resonance of Scott's trumpet are good example of this. They're spacious and delicate with a tone is very intimate.

Many people may find the expansiveness of aTunde Adjuah a little hard to swallow. But I feel its another example of a young talent that is really exploring new ideas and trying to find different themes to push our definitions of what jazz is and can be. A great effort for most musicians. Christian Scott is certainly achieving that and continues to look upward and out.

Steve Davis: Gettin' It Done

Steve Davis (trombone)

Gettin' It Done (Posi-Tone; 2012)

Mike DiRubbo (sax)

Larry Willis (piano)

Josh Bruneau (trumpet)

Billy Williams (drums)

Nat Reeves (bass)

The interlude between One For All albums seems to be getting wider and wider lately. Steve Davis being one of the founder members of that exciting sextet. But that gaps tends to bring out the best in each members own bands in which they are the leader. Davis returns with his newest release, Gettin' It Done, a fabulous session which sees the trombonist in killer form.


Gettin' It Done features a few regulars to Davis' sessions, including Nat Reeves, Larry Willis and Mike DiRubbo. The title track fuses the best elements of Davis' arsenal, fierce commitment to each other and solid composition. It's modern hard bop at its finest. This is a cracker of piece with Willis, DiRubbo, Bruneau and Davis moving a blistering pace.

"Steppin' Easy" and "Alike" really highlight the horns with DiRubbo and Bruneau having superb exchanges with the leader. But also Davis allows them the space to solo and even more of a personality to numbers that already shine brightly. "Alike" being the loveliest and most personal.


The funky groove of "The Beacon" is something a little different from Davis' solo work. Reeves adds a catchy bassline that leads through. Meanwhile, Willis and Davis layer that groove with some rhythms that make this an irresistible number.

"Wishes" is a playful mid-tempo piece where Davis really shines and his sound fills the room like one of his mentors, Curtis Fuller. Davis' again gives the floor to DiRubbo who rattles off some soft but boldly shaped notes. After a short passage from Bruneau the rest of band return a glide the number to conclusion.

This is the first time Steve Davis has worked with all of these members as one unit. And he delivers another quality outing with Gettin' It Done. This is a solid group that hopefully they can tour together because they sound superb as a unit. And while we wait for the next One For All release, Gettin' It Done is a great waiting point. Enjoy...

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.