Traeben

Traben (quartet)

Jens Larsen (guitar)

Soren Ballegaard (sax)

Haye Jellema (drums)

Thorsten Grau (drums)*

Olaf Meijer (bass)
(photo: Eric van den Elsen)

A calm, conservative and refreshingly contemporary approach has been take by Scandinavian quartet, Traeben. They posses a quality that is laid back in the European tradition but owe a lot of melody and harmonics to the traditions of West Coast jazz of the 50s and 60s.

"Se Nu Stiger Solen" from the debut album, Nordic Project* (O.A.P. Records) is gorgeous and filled with folkish, melodic themes. While based on traditional Scandinavian tunes, you would never notice the breadth and dynamics of the musicianship. "Se Nu Stiger Solen" is cool and stoic in tone but with Ballegaard rich, angular notes. Larsen's passion-filled guitar makes the piece romantic and evocative.

At times the instrumentation reminds of the recent work from John Abercrombie and John Surman. This is magnified by excellent heart thumping performances by Meijer and Grau who are significant to each piece, especially "Skyerne Grane" which has a great groove. That's the modern side of Traben's sound; the classic or traditional sound can be felt with romantic numbers like "Det Hvidt Herude" and Grimasch Om Morgonen" that have the subtle styling of a Stan Getz. Quiet, rhythmic and personal. 

Traeben's recently released follow up, Push (Jarr Records) moves the group forward with bright ideas and an exciting new burst of energy. For Push, the quartet seamlessly adds a new drummer, Haye Jellema, who provides a little rougher edge but still paints the soft tone needed on most of the tunes. Push also features Laren and Ballegaard focusing on the group's own material. It is a stellar and more sophisticated set.

The sizzling opening "Top Dog" has Ballegaard sounding like young Dexter Gordon. Theres a rolling stream of notes in the middle of the piece that Ballegaard rips through with ease. On "Can You?" Meijer and Ballegaard provide the lines that probably would be carried out by a pianist. But in their hands they give the tune a bit more passion, soul and purpose.

Larsen and Ballegaard are a great combination. While Larsen sets the group on the path, Ballegaard seems to know exactly when the band should turn along this journey. "All It Needs" exemplifies this attitude with Larsen setting the pace. Lovely chords with an almost Spanish flavour. Jellema accompanies with a delicate combination of crashing symbols and soft brushes.

"We'll Let You Know" is where Traeben breaks from form. This is a bit of a raucous tune in comparison to anything they've done before. While still maintaining that gentle modern form, every member approaches this with a sense of fun and intensity that almost resemble a rock outfit. It's calculating at times and then bold the next. Exquisitely put together--especially the blistering notes by Larsen at the bridge of the song.

"Nothing Or Nothing At All" sees Ballegaard channel the past but infuses a real open mind of exploration for the modern European thinking. A set of staggering climbing notes which are mirrored by Larsen and handled with a steady rhthym from Meijer and Jellema. It's a fluid number with stellar dynamics at all four corners.

Traeben may be Europe's top secret weapon. But with Push, the secret is out. This is a band which should have staying power. Both Nordic Project and Push have made the revolving slot in my CD player and yes my iPod. These are two records which have to be heard by jazz fans of every genre. Traeben are the real deal. A must listen.

Francois Houle: Genera

Francois Houle (clarinet)

Genera (Songlines Recordings; 2012)

Samuel Blaser (trombone)

Harris Eisenstadt (drums)

Taylor Ho Bynum (cornet)

Michael Bates (bass)

Benoit Delbecq (piano)

Genera is a bit of a return to the modern focus of Francois Houle's earlier '00s outings with his group +5. A group that consist of revolving musicians (including frequent collaborator Benoit Delbecq). While maintaining a clear jazz focus, Houle has deployed his usual adventure with improvised themes throughout this session.

"Essay #7" rips and rattles along with a sense of urgency and jubilation. Eisenstadt and Bates secure a pounding pace, as the horns improvise all over the scale. All this is lightly tempered by Delbecq's versatile style at the keys.

With "Guanara," Houle allows the sextet a whole lot of room to expand. Houle's tone is light, yet with multiple layers of complex changes. Conversations between Delbecq, Eisenstadt and Bates dart and jag across your senses quickly but with a real sense of grace. Houle, Bynum and Blaser return towards the end for rousing conclusion.

"Albatross" is that dark improvised piece that moves slowly with Bynum in excellent form. The horn section are the real stars on this piece, with all three men really screaming in delicate unison. Sounds contradictory but you really have to hear to understand the beauty.

On "Sulfur Dude," Houle's composition makes this sextet sound almost like a large ensemble. It starts from a very organic place and each musician adds other rhythmic element on top of lines. This in turn creates a harmonic structure that is striking as well enchanting. For me it's my favourite piece on Genera.

A return to more organic themes is the best way to describe Genera. And Francois Houle has shown once again his versatility as a composer, leader and musician. Genera is a departure from the more recent ambient/avant classical chamber material of his last outings. But its a value addition in understanding the artist. Highly Recommended.

Marek Jakubowicz: Feelings

Marek Jakubowicz (guitar)

Feelings (Multikulti; 2012)

Marcin Oles (bass)

Cecylia Matysik-Ignys (harp)

Axmo (vocal)

With a lovely and highly passionate tone, Polish guitarist, Marek Jakubowicz delivers an album of straightforward themes in Feelings.

With qualities that remind me of Martin Taylor, Ottmar Liebert, Pat Metheny and Paco De Lucia, Jakubowicz aptly moves between Brazilian, classical and light modern jazz with ease. A gentle and easy session that is enjoyable on multiple levels.

Two bewitching pieces open Feelings, "Before You Were Born" and "Behind The Scene" with colourful shades of classical and jazz introspection. "Before You Were Born" has the feel of time passing. It's a journey through the opening of life and the path we decide to choose. The piece is punctuated by Matysik-Ignys sweet exchanges with Jakubowicz. While "Behind The Scene" explores a more romantic jazz tone as the versitile Oles bends the bass and Jakubowicz find affectionate tones that transform this above just a standard piece.

The title track is perfectly executed with Oles and Axmo adding hauntingly beautiful lines and lyrics that compliment the guitarist rich notes. Axmo's voice is raspy and echoes like Enya but sits nicely among Jakubowicz's composition. "Si Ceng Xiang Shi" is a ballad with Asian Pacific character that arches high thanks to Axmo vocals. "Travel Memories" closes this session in elegant form. Very tight passages by Oles and Jakubowicz that are pristine and well focused.

Marek Jakubowicz makes a very, very surprisingly beautiful record from a diverse avenue of themes. He shows he is incredibly capable in a variety of styles. Feelings is an album that slows creeps up on you. You may not get it on the first listen but I'm pretty sure you will be enchanted by the second spin. Enjoy...

Clarino: Cookbook

Clarino (trio)

Cookbook (Red Tucan Records; 2012)

Thomas Heberer (trumpet)

Joachim Badenhorst (clarinet)

Pascal Niggenkemper (bass)

Thomas Heberer's Clarino trio have quickly released another album of inspiring, improvised yet well balanced material in form of Cookbook.

Cookbook refers to the name Heberer has given to the form in which he has written the material for this trio. Cookbook fuses more structure from thin spaces Heberer, Badenhorst and Niggenkemper produce than their debut album, Klippe. As a result it is a different effort than its predecessor and even more engaging.

"Lockruf" opens with long notes that are stretched through time by Badenhorst and then joined by Heberer and Niggenkemper. Each creates a counterpoint but with lines that meet to tell the story of their journey as close to the end of the piece as you could get. A quiet and peaceful conclusion.

The multi-layered "Nomos" features a few complex lines from Niggenkemper. This is juxtaposed by ascending notes on clarinet and trumpet. Heberer has infused a number of playful notes into a delicate and complicated pattern. Very enlightening. The quiet introspection of "Bogen" with its utilization of various breathing techniques on the horns is closely matched by haunting chords resonating from the bass. This slides swiftly into a powerful recitation of repeating chords in the heavy "Deux." An intense passage of notes by Niggenkemper and rolling lines of Badenhorst make it an astounding number, albeit short.

Heberer uses long stretches of tone and color to close out this session with "Zuname." The pattern is circular and continues to build; the bassline is just audible underneath both horns. As the piece closes you hear the tones still echoing in the back of your mind.

Thomas Heberer has created a trio that seems to be as at ease within the material as it is with expanding on it. Cookbook may be just a clean slate with a few lines of direction but Clarino has made this a very exciting and creative journey to experience. Highly Recommended.