Curtis Fuller: Down Home

Curtis Fuller (trombone)

Down Home (Capri Records; 2012)

Keith Oxman (sax)

Al Hood (trumpet)

Ken Walker (bass)

Todd Reid (drums)

Chip Stephens (piano)

Curtis Fuller returns in a very joyous mood on his new release, Down Home. And he does feel right in place. His last few recordings have dealt with the loss, pain and celebration of his late wife; Down Home shows the resilience and continued brilliance of a musician still at the top of his profession.

Leading off with the joyous title track, Fuller shows an exuberance that is really electrifying. A jumping hard bop number that sees the horn section trading off moments of affability and substance. Oxman and Hood, both of whom have performed with Fuller on his last few records are perfect executioners of Fuller's compositions.

"Sadness And Soul" allows Stephens to step into the lead with lovely agility and grace. Fuller's performance is passionate and resounding throughout. It's a late night piece that works beautifully. "The High Priest" rips along with a cutting edge from Fuller showing strength and superb quality. The sextet is on fire here. Each member rattles off a pattern of notes in quick succession that you really feel the energy and enthusiasm that the session obviously had. 

Down Home is another excellent chapter in a story of a living legend that continues to grow with each note. Curtis Fuller shows in 10 tracks why he is revered by younger musicians (trombone or otherwise). He is the best. And Down Home is a document every jazz fan has to have. Highly Recommended.

Aram Shelton: Everything For Somebody

Aram Shelton (sax)

Everything For Somebody (Singlespeed Music, 2012)

Keefe Jackson (sax)

Tim Daisy (drums)

Anton Hatwich (bass)

What I've always loved about Aram Shelton is his investigative ethos. He continually challenges himself and his fellow band mates within each composition. This is ever-present on his newest quartet release, Everything For Somebody.

With his quartet, Shelton stays focused on a more traditional sound - a mixture of hard bop and avant garde that works perfectly. The ideas created by Ornette Coleman are here in Shelton's playing but as you move further into the record you fly deeper into the band's vortex.

"Anticipation" opens with beautiful exchanges by Jackson and Shelton. Their performance is really on fire and the addition of the always electrifying Daisy makes the piece a firecracker of an opener. It's fun, challenging and very versatile.

"Everything To Somebody" begins with a slow melodic approach before the group spins into a nice boppish groove carried through by Hatwich and Daisy. Hatwich provides a nice bridge in the middle of the piece for Jackson and Shelton to gather new concepts and rejoin with vibrancy, carrying the tune back to a somber but celebratory conclusion.

I love the freedom Shelton gives the group on "Barely Talking." The main melody and theme are established in the opening lines but from that point on, each musician crafts his own vision. Tim Daisy displays an improvising spirit that for me resembles Andrew Cyrille. Jackson and Shelton apply complimentary notes that flow with aggression and beauty. And there's a great passage in the middle of the piece between Daisy and Hatwich that is simply exquisite...and could have gone on much longer.

While Aram Shelton is pretty much based out of San Francisco now, the distance does not stop this Chicago quartet from sounding as fresh and vibrant as ever. If you were to start your journey into Aram Shelton's material Everything To Somebody is wonderful place to start. Another superb addition to my albums of the year. Highly Recommended.

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.