Martin Kuchen: Hellstorm

Martin Kuchen (sax, electronics)

Hellstrom (Mathka; 2012)

Maybe I get excited by the most primal stuff. But when you experience albums like the newest solo effort, Hellstorm, from multi-reed man, Martin Kuchen, you realize why you enjoy music.

The Swedish born experimentalist seems built from the same cloth as Peter Brotzmann, Roscoe Mitchell or Rashan Roland Kirk. This angular and at times atmospheric sound is present in contemporaries like Ken Vandermark and Colin Stetson. But Kuchen creates haunting melodies through just a few notes and ideas. And that's what we get from Hellstorm.

This is a solo document of Kuchen's family history. And while you are taken on a dark resonate path, its immensely eloquent at the same time. It moves at a much slower intense pace than his pervious solo work, The Lie & The Orphanage.

Taking a long deep pace and creating circular patterns which slowly bend and become more hypnotic, "Allemagne Annee Zero," begins the journey on baritone sax. It's a somber passage filled with tiny little holes and capture your subconscious to hold you there until he says you can go.

The passion, blood and anger can be felt on "Sarajevo." Kuchen's tone is long and spacious. He creates notes that start and stop like a resuscitating heart. The sound soon becomes eerie and enveloping. "Ritual Defamation" is a tidal wave moving slowly but battering against the shores of your brain with a force that will leave you scared. It's modular effects are brief but emotionally powerful.

Hellstorm is a highly personal and emotional work that creates a singular soundscape for the listener. Even without knowing the full personal history, Hellstorm stands alone as one of my favourite Martin Kuchen albums. It will also become one of my top albums of the year. Primal stuff indeed. Highly Recommended.

Jordan Young: Cymbal Melodies

Jordan Young (drums)

Cymbal Melodies (Posi-Tone; 2012)

Brian Charette (organ)

Joe Sucato (sax)

Avi Rothbard (guitar)

I said last year that Jordan Young had great skill as a leader as well as performer. His group is solid and concise.

Making the jump from his independent self-titled debut to the perfect home of Posi-Tone Records, Jordan Young delivers his newest release, Cymbal Melodies. And it is just as pronounced and confident as his debut. A strong step forward.

The two opening numbers, "By The Time I Get To Phoenix" and "Raindrops Keep Falling On My Head" are killer. Jordan turns "Raindrops..." into a real barn-burning. It's smokin' and really fun. You almost don't recognize it thanks to some crafty and infectious work by Charette and Rothbard. But Young's kit sounds explosive throughout. "...Phoenix" is midtempo with a groovy melody that is set with some clever and understated timing by Young. This while Charette and Rothbard give the tune a real sense of emotional structure.

"Bird Bath" is sneaky in its structure thanks to Charette's hip crunchy styling. The dialogue between Young and Charette (longtime bandmates) is superb. "Mood For McCann" is a funky number where Young unleashes Sucato and Rothbard to exchange some fierce lines that are quite soulful; they might have you reminiscing for Jack McDuff and Grant Green. 

With Cymbal Melodies , Jordan Young reaches the next level in what looks to be a sparkling career. Posi-Tone was the perfect choice for this release, fitting nicely with the label's current stable of artists. But more importantly, a great number of people will and should get to hear an artist who is quickly finding his voice as a composer and performer. Cymbal Melodies is a solid must listen.

Pao

Pao (trio)

Pao (Shhpuma Records/Clean Feed; 2012)

Travassos (electronics)

Pedro Sousa (sax)

Tiago Sousa (keyboards, percussion)

A very interesting debut for Portuguese trio, Pao. This is a dark, experimental and at times almost spiritual session, that is more than the sum of its parts. Structured by three long pieces, Pao demonstrates an ability to both calm and intrigue through a series of improvised pieces that still remain distinct and linear.

Opening quietly with gentle chimes and eerie electronic scratches/manipulation and one tone sax chords, "Gods Wait To Do Delight In You" establishes the path in which you are about to take. There are drones and effects that are dense yet mystical. The slow climb is similar in vein to The Necks or even more recently DMP Trio. Closing out "Gods..." is P. Sousa's haunting sax and Travassos' undulating electronics which are weirdly soothing.

"Dyson Tree" for me, had an almost Sunday morning church call to it. The effects of T. Sousa's keyboard provides an organ like operatic sound. While Pedro and Travassos inject an Eastern element into the mix as the tune moves towards it's middle lyrics. Rich and creative soundscapes happen throughout.

The closing number is my favourite. "It Was All Downhill After The Sling" is rough, gritty and beauty all at once, containing improvised lines that make you feel like your listening to session with Sonic Youth. The patterns never get overly loud. Pao manages to find a way to deconstruct and reorganize in a way that resonates long after the piece is over.

Pao is an exciting and highly creative trio from the new and continually adventurous Portuguese scene that is well worth your investigation. Sometimes you like to use the phrase "this won't be everyone's cup of tea"--but every once in a while I think everyone needs to be jarred out of their seat. Go buy this record! Highly Recommended!

Branford Marsalis: Four MFs Playing Tunes

Branford Marsalis (sax)

Four MFs Playing Tunes (Marsalis Music; 2012)

Joey Calderazzo (piano)

Eric Revis (bass)

Justin Faulkner (drums)

Branford Marsalis can always be counted on for great album titles in addition to the superb quality of the music (e.g. I Heard You Twice The First Time). With his latest, Four MFs Playing Tunes, I think he might not be able to top himself this time. Yes it is a very striking title, but the music and development of the quartet is sensational.

The core of the group has remained the same for years. The difference now is the refreshing presence of Justin Faulkner. Replacing longtime bandmate, Jeff "Tain" Watts, Faulkner provides an extra boost of energy that the group just absorbs into what was already a very creative and electric force.

The new quartet also shows serious growth, and Marsalis provides the room through a number of the tunes written by Revis and Calderazzo (in addition to Marsalis). Now this isn't really anything new, but this material has a real electricity to it that shows each member's growth as composers.

The bluesy tone of "Brews" (written by Revis) has a flow that is true blues, but Calderazzo and Marsalis give it a playful nature. At the same time Revis and Faulkner provide the calm layer of seriousness to the track making it very balanced and effective. The Thelonious Monk tune "Teo" shows how fluid and instrumental Faulkner has become in an extremely short amount of time with this group. His performance in the beginning conversations with Branford is awesome and you can see Branford has an immediate connection with him. Faulkner's kit sounds almost tribal. Eric Revis and Calderazzo also have some sweet, quiet funky moments in the middle of the piece. Revis' bending of the chords like a young Paul Chambers. This is juicy stuff, folks.

"Endymion" is beautiful chaos. A tune is built around Marsalis' rolling third notes. The group improvises at every turn allowing the notes to slowly create their own melody. Marsalis has written a piece in which each member shines at their craft. Faulkner shows considerable strength and versatility as he is called upon many times throughout this number to carry and challenge his bandmates.

Four MFs Playing Tunes is a fresh new beginning for the Branford Marsalis Quartet. While it maintains the playfulness Branford carries on all his albums, his group has managed to breathe new life into their adventurous spirit. Four MFs Playing Tunes is a must own album this year.