Soweto Kinch: The Legend Of Mike Smith

Soweto Kinch (sax, vocals, programming)
The Legend Of Mike Smith (SW Recordings; 2013)
Julian Joseph (piano)
Shabaka Hutchings (sax)
Karl Rasheed Abel (bass)
Graham Godfrey (drums)
Cleveland Watkiss (vocals)
Rachel Maby (vocals)
Eska Mtungwazi (vocals)

The story of city. The story of artist as a young man. Or how to survive it all. On your own terms. Those are some of the ways to look at Soweto Kinch's latest hybrid opus, The Legend of Mike Smith.

As with his previous albums of jazz fueled hip hop (or hip hop fueled jazz?), Soweto Kinch has filled this album with more hilarious interludes and mind boggling tales, that very well could be true. Or at least resembles scene that I know have happened in meetings between artists, management and labels. The Legend of Mike Smith is played with sheer brilliance from the composer to all the bandmates and cast members.

The album surveys the journey of creativity running and battling against the stale, bland and repetitiveness of an industry and environment that continues be stagnant. "Invidia" (or envy) exemplifies Kinch's rage and beauty with description of the balance between the artist reality and the fame that seems to eludes him. Hard hitting beats and "jungle-like" vocals that are true to the portrait.

While "Invidia" is a glimpse into the hip-hop language of Soweto Kinch, "Road Block" is filled with candescence melodies from Kinch on sax. An variance that definitely shows his skill on the horn is growing and becoming more individually descriptive.

"Vaccum" is a lovely ballad filled with bold lines and calm serenity that I personally haven't heard from Kinch on previous albums. And the performance from Jay Phelps is sublime. "Sweeping Changes," allows quartet portion of the ensemble to move effortlessly through a steady midtempo arrangement where Kinch almost sounds like Sonny Rollins.

"Avarita" sparks the sociopolitical side of Kinch's lyrics. Discussing the city and global disparities of well-being for all and it's effects. Kinch has an energy and bit that slices cross the headphones like Roots Manuva. A great track filled with rough and ready beats and lyrics--solid stuff. "The Healing" and "The Bounce" close out Mike Smith's trials and tribulations on a joyous note. Built with funky hard bop pattens but maintaining a rich view of the future--Soweto Kinch nails the ending elements of this epic album perfectly.

The Legend Of Mike Smith is ambitious (spanning two discs) but Soweto Kinch does have a lot to say and makes great use of the talent around him. Always a delicate balancing act between his hip hop influences and his jazz inventiveness--The Legend Of Mike Smith an excellent document of what happens when the two genres are done the right way. One of my albums of the year.

Nicole Mitchell: Aquarius

Nicole Mitchell (flute)

Aquarius (Delmark; 2013)
Frank Rosaly (drums)
Jason Adasiewicz (vibraphone)
Joshua Abrams (bass)

Nicole Mitchell returns to scene with her fifteenth album, Aquarius. And--as always, its a majestic affair. Pared with fellow Chicago creatives, Rosaly, Adasiewicz and Abrams, Nicole Mitchell has breathed new life into her already ethereal compositions.

The spirit of Coltrane and Dolpy floats swiftly through "Aqua Blue." Filled with a funky blues vibe, Abrams and Rosaly moving the melody along mixed with Mitchell and Adasiewicz swirling harmonics solidifies a beautiful opening number. Abrams sets a dark tone on "Aquarius." His opening lines and strokes are heavy, intense and intricate. The rest of group slowly arrive, creating a choral ballad that slides and drifts from structure to improvised, effortlessly. Mitchell's tone and steady pace is augmented by the freedom she allows her bandmates to explore through the last quarter of the piece.

I loved the soulful bebop ride of "Sunday Afternoon." A groovy number with an infectious rhythm section that sets up Mitchell's richly spiritual spacial patterns. Closing with the tribute to Chicago legend and one of my personal favourite musicians, Fred Anderson is lovely sentiment. Guest vocalist, Calvin Gantt delivers the importance his presence was (and is) to the scene. A pray and a testimony to his greatness.

Aquarius is yet another excellent session from Nicole Mitchell. And with another great set of young musicians, Mitchell brings a fresh perspective that just might be what those who haven't heard before need. Aquarius will be one of those records that you'll want to tell everyone friend you know to get. Highly Recommended.

The Thirteenth Assembly: Station Direct

The Thirteenth Assembly (quartet)
Station Direct (Important; 2011)
Taylor Ho Bynum (cornet)
Mary Halvorson (guitar)
Tomas Fujiwara (drums)
Jessica Pavone (viola)

One of the other exciting musicians on the New York scene in the last few years has been Taylor Ho Bynum. One of his many groups, The Thirteenth Assembly, released its second album, Station Direct in 2011. Built around the numerous influences of each musician, Station Direct spans rock, avant garde, folk and classical with ease. The mixture is subtle yet you will be amazing at the delivery and impact the music will have after a number of spins.

"Nosedive" opens with in an almost Americana fashion. With Pavone's viola roaming and sounding casual but calculating. Then the contrasting harmonics of Bynum, Fujiwara begin to slice notes in sections. Halvorson arrives in later stages and brings a cohesiveness to the piece that also allows the musicians to experiment more with sound.

"Coming Up" features some intriguing passages between Halvorson and Fujiwara. But it really is a feature piece for Fujiwara who explodes across the kit with exciting and fun. The song was written by Pavone, but she does lay in the background and allows the rest of member to explore and expand the piece beautiful.

"Long Road" swirls with experimentation thanks to Halvorson and Pavone. Notes and patterns that move in and out of darkness. Halvorson has a number low toned chords that give way to the pitch of Pavone's viola. As the tune moves forward it shifts from experiment to funky to folk and back to experiment; with Bynum returning in low hues and echoes of a New Orleans celebration and finally a joyous and raucous conclusion.

Station Direct is an album that travels in many directions thanks to the influences of its members. But it is an exciting journey and well laid out. The Thirteenth Assembly is one of those experience and creative side projects that is always worth diving into. You never know what will be next. But you know you're going to love it. Great stuff.

Kris Davis: Capricorn Climber

Kris Davis (piano)
Capricorn Climber (Clean Feed; 2013)
Ingrid Laubrock (sax)
Trevor Dunn (bass)
Tom Rainey (drums)
Mat Maneri (viola)

The incomparable, Kris Davis returns with more brave and complex patterns on her sixth album, Capricorn Climber. Davis, is part of the new legion on New York musicians that are redefining the scene nationally and globally. A scene composed of such notables as Tom Rainey, Mary Halvorson, Peter Evans, Ches Smith, Tashawn Sorey, Moppa Elliott, Jon Iragbagon et al. But Davis like Halvorson has been one of the major standouts for me over the last few years.

Capricorn Climber provides all you need to know and hear from a talented composer with challenging ideas. "Pass The Magic Hat" is a smooth yet very involved piece. The first steady tempo is lead by some lovely rolling lines from Davis. This is subtly balanced by Rainey and an uncharacteristically calm Laubrock, who sounds bold and romantic. Then all that changes as the piece moves forward and becomes even more reserved and delicate. Maneri dominates with some wonderfully inventive and chaotic notes. Beautiful and surreal.

Davis gives Trevor Dunn a lot of room to roam of course on "Trevor's Luffa Complex." The opening solo is superb and illustrates how well developed his craft has become in the last few years (actually he's been at way longer than that). He sets up some lovely exchanges with Laubrock that then fold nicely into a boiling cascade as Davis and Rainey come blasting in.

"PI is Irrational" flexes back and forth with breaking rhythms and patterns, mainly from Maneri and Rainey, with little slices of improvised notes floating in and out from Davis and Dunn. Laubrock's arrives towards the end of the number to add a nice linear passage for the closing notes by Dunn.

Maneri really shines in Davis' pieces, this is evident of the title track where his conversation with Davis is a perfect simpatico. Once the rest of the quintet dive in, the piece becomes a bright wash of sound that levels off calmly but with deep sense of structure.

A new album from Kris Davis always brings real joy to my ears. Capricorn Climber is definitely one of the more developed and intense sessions she's done so far. And it may take a little time for you digest all its beauty. But you will shortly realize how important Kris Davis has become as musician, composer and influence on a larger scene globally. Highly Recommended. And one of my albums of the year!

The Intersection: Olafur Arnalds

The Intersection: An ongoing feature on JazzWrap that looks at artists that have blended jazz, world and electronica in new and highly creative ways.

Olafur Arnalds (piano, electronics)

For Now I Am Winter (Erased Tapes; 2013)

I admit, I only own one other record by Icelandic pianist, Olafur Arnalds. And that really is just a duet ep with Nils Frahm. But with his latest release, For Now I Am Winter, I am officially hooked!

There's a peaceful and ethereal element that flows from Arnalds music. Built both on atmospherics and classical traditions, ...Winter feels like a combination of William Orbit's experiments (circa Pieces Of A Dream), Max Richter and Harold Budd. But this album has a pleasant sense of awakening, amongst its subdued settings.

Opening with two contrasting pieces, the dark yet softly touching, "Sudden Throw," with swathes of clam keyboard lines augmented to simply and gentle piano melodies and quickly transitioning into the violin movements and electronics of "Brim" which are harsh and beautiful like Aphex Twin. These two pieces exude the texture of the session and invites the listener on a magical ride.

"Old Skin" features a more populous approach. Arnor Dan's vocals are passionate and provide a folkish feel against a chamber backdrop of Arnalds notes and string instruments. "This Place Was A Shelter," with its crunching electronics lines pushing against the solemn strings is the cinematic moment of the album for me. While short, it does leave a strong impression and features wide facets of Arnalds compositional skills packed into a brief four minutes.

A wonderful and reflective outing from this young musician and composer, For Now I Am Winter is solid piece of work. Olafur Arnalds has been gaining more notoriety in the last few years, but here's to hoping that For Now I Am Winter is the breakthrough he richly deserves. A magnificent record.

The Intersection: Brandt Brauer Frick

The Intersection: An ongoing feature on JazzWrap that looks at artists that have blended jazz, world and electronica in new and highly creative ways.

Brandt Brauer Frick (trio)

Miami (K7! Records; 2013)

Daniel Brandt (electronics)

Jan Brauer (electronics)

Paul Frick (electronics)

Miami is the German group, Brandt Brauer Frick's third and most dramatically cinematic album so far. While the previous albums, Mr. Machine and You Make Me Real had elements of dance, free jazz and experimentalism mixed throughout, Miami strips things down to the deeper introspective parts. And it delivers on every level.

Harboring more dark beats and themes than its predecessors, Miami is a intricate leap forward and exciting listening experience. The opening title theme is a slow plodding movement based on basic two or three chord piano notes, some eerie electronics, slow bowed cello (possibly even a tuba!) and haunting vocals from Erika Janunger. A lengthy opening piece with a lot of emotional impact that resonates throughout the album.

"Plastic Like Your Mother" has a dense, soulful vibe to it that is almost reminiscent of early Tricky or mid-period Massive Attack. The dance elements finally emerge towards the middle of the piece with trippy repetition and vocal loops. And just as you think the piece is about to explode--it ends. Intelligent and crafty.

"Empty Words" is like walking through a hall of mirrors in any horror flick. Slow descending heart-thumping paces on the keys and lots of improvised moments with Jamie Lidell's loving and cries floating in and out. And then having the slicing bass lines defining each movement made this one of my favourite tracks in the session.

"Fantasie Madchen" keeps true to the Bodo Elsel original with simple electronics and infectious attitude and the rough vocal treatment by Gudrun Gut. Gut's vocals give the piece a little more of a sexy vibe with the instrumentation making this late 90s dance piece more futuristic.

Yes, musicians want to challenge themselves every time out. But you don't get many that succeed with each effort. With Miami's more improvised vision the trio of Brandt Brauer Frick manages to do that over and over and over. This is an excellent session and must have for music fans. Highly Recommended!

Zero Centigrade: Selce

Zero Centigrade (duo)
Selce (Nothing Out There Music; 2012)
Tonino Taiuti (guitars)
Vincenzo de Luce (trumpet; electronics)

Zero Centigrade has always been a duo pushing boundaries and corrupting perception. Selce, finds the duo with another unique task--pulling their minimalistic approach even further backwards. And in essence, exploding the theory of what "genre" should be.

"Blue Dress" mixes a two note chord with sound collages and electronics that at first sound like tuning to find the journey. But as the piece moves forward you realize this tuning is the journey. It's a path to find what can come next in this improvisational structure. It's gentle and well crafted with new sound emerging every few minutes.

"Dougmouth" and "Selce" both ride a folkish, country theme hidden behind dense echo chambers of sound that reverberate from Taiuti's guitar. DeLuce's electronics and distant trumpet line the atmospherics in both pieces giving them an other-worldly tone and keeping the listeners interest peaked. With "The Far Road" Taiuti and DeLuce stretch the notes as far as the can go, utilizing as much space as possible. Found effects come into the forefront later in the piece only to accentuate the notes.

Zero Centigrade is all about exploring new territory. Sitting back and experiencing each movement for how it can transform is the best way to evaluate Selce. It is an album that has surprises with every listen. And once again Zero Centigrade pull off another fabulous experiment in sound.

David Weiss: Venture Inward

David Weiss (trumpet)
Venture Inward (Posi-Tone; 2013)
Nir Felder (guitar)
Luques Curtis (bass)
Jamire Williams (drums)
J.D. Allen (sax)

Venture Inward is an interesting third outing from David Weiss' quintet, Point of Departure. Technically, in recording order, this would actually be the first Point of Departure album. The album features the studio versions of tracks that would later be performed on the live albums, Snuck In and Snuck Out. It's still a solid release that is worth every bit of the money. And real document of the organics that the group is and would result in their later live dates.

While the four tracks that would be featured in the live dates have the same vibe here in the studio; it might be "Snuck In" that feels slightly different. This studio version opens with Felder's guitar lines instead of the ferocity of Weiss' trumpet. But the energy of the performance is still there but a little subdued. This gives the piece a little bit more depth and allows you to focus more on the interaction between the members.

"Venture Inward" and "Pax" both classic Andrew Hill tunes illustrate the desire that Weiss has to re-invigorate and educate jazz fans about hard bop. The group expresses some colourful tones throughout "Venture Inward." On "Pax" you can almost feel a note for note annotation but with real reverence.

David Weiss & Point Of Departure is one of those groups that Weiss uses to explore the more raw and free form elements of jazz history. He seems to be doing an extremely excellent job with this group. Let's hope they stay together. Point Of Departure are giving a superb jazz history lesson with Venture Inward. 

Fusk: Super Kasper

Fusk (group)
Super Kasper (Why Play Jazz; 2013)

Philipp Gropper (sax)
Rudi Mahall (bass clarinet)
Andreas Lang (Bass)
Kasper Tom Christiansen (drums)

So, a few years ago I reviewed the debut album from Fusk. A rich combination of hard bop and free jazz. The quartet have finally returned with their follow up, Super Kasper. And I have to say, this is a massive step forward. Challenging chords, imaginative thinking and superb performances. Super Kasper is a more mature and effective record than its predecessor. And that's what you want to see in a band--right?

"Music Eins Punkt Null" and "Lauft" open playfully but both illustrating an adventurous spirit. Mahall and Lang provide a forceful bottom up approach that allows Gropper and Christiansen to mold different tones through. Especially on "Lauft." Both pieces are a survey in sound structures and where they will go next. It's beautiful to hear how each instrument interacts with the next note.

I enjoyed the swirling nature on the first half of "Suburbia Surreal." It's hypnotic and abstract but soon levels out into almost blues-like structures. Very nicely done and crafty. "Led Right, Gleen Right" adds a little humour to the proceedings. Another rolling piece that doesn't complicate the melody but does show the complexity of musicians and ongoing kinship to each other.

The real thing that struck me from the first listen to Super Kasper was how many times I kept coming back to the record throughout the first week I got it. Fusk is a quartet of veteran musicians. But a quartet that has matured in its compositions and performances faster than you would expect. I really really loved this record. And it will be one of my best of albums of the year. Highly Recommended!

Soren Gemmer: At First

Soren Gemmer (piano)
At First (Ilk Music; 2013)
Per Mollehoj (guitar)
Tapani Toivanen (bass)
Andreas Fryland (drums)

The debut album from the Soren Gemmer Quartet, At First, is one of those unassuming albums that lays everything out for you--quietly, smoothly and elegantly. The pianist got a late start to playing music but has blended a love of classical tradition with melodic jazz structures to create a engrossingly beauty first session.

"Russians" opens the album with a soft but propelling drum beat and fully framed lines from Gemmer. The expressionism the quartet exude is exciting and fresh. Mollehoj's guitar perfectly blends with trio giving the group a distinct quality that sets them slightly apart from many of their contemporaries within the region.

An intense opening passage between Mollehoj and Fryland on "Dear W." (written by Fryland) allows the listener the chance to experience the full dynamics of the quartet. Each performer shines with their dedicated section. But all revolving back towards the center in the closing cords.

Heavy keys and dense patterns mark the title track. With some enveloping chords that feel like a chamber piece but yet filled with vitality. You can sense this is a session and piece in particular, is one that the quartet are enjoying greatly.

The harmonics and subtle colour that Soren Gemmer adds to each piece is wonderful to hear. At First is an invigorating debut that is easy to fall in love quickly. A lush and moving work for any music fan. Start listening now...

The Intersection: Sava Marinkovic

The Intersection: An ongoing feature on JazzWrap that looks at artists that have blended jazz, world

and electronica in new and highly creative ways.

Sava Marinkovic (guitar; electronics)
Nowhere Near (Acustronica NetLabel, 2013)

The debut from Serbian multi-instrumentalist, Sava Marinkovic, is quiet, gentle and reflective. Before you know it--you've listened to Nowhere Near five or six times. A luscious album of soundscapes that sits nicely alongside ambient works by Harold Budd, Robert Fripp, Brian Eno, Eivind Aarset and Michael Brook. 

Nowhere Near is a short album in length but long on beauty, distance and space. "Argemone" includes slow passages of piano and electronics and haunting harmonies from Melinda Ligeti. A peaceful opening journey that elegantly sets the tone for the session.

"Taste Of Rust" and "Nowhere Near" both have a melodic nature that is reminiscent of David Sylvian circa Gone To Earth. It's light, atmospheric and rolls along in a dreamlike pattern. Marinkovic's guitar lines burst into the open on the title track in Fripp meet Gilmore fashion but you definitely sense a voice in his playing.

While it does work from a familiar palette, you won't be disappointed by Sava Marinkovic's first outing. Nowhere Near is very impressive debut that is both enjoyable and illuminating. Let's hope the next project comes quickly so I can take this off repeat. Highly Recommended.

Colin Stetson & Mats Gustafsson: Stones

Colin Stetson (alto, bass sax)
Mats Gustafsson (tenor, baritone sax)
Stones (Rune Grammofon; 2012)

This is an unbelievable meeting of two enigmatic performers and composers on the avant garde scene at the moment. Mats Gustafsson and Colin Stetson have been stamping their imprint on the jazz for well over a decade now. Their first ever collaboration is the probably the best way to experience it--live!

Stones presents a sheer blizzard of sound with a slow building and haunting overture on "Stones That Rest Heavily." Gustafsson and Stetson exchange passages of long drags and bellowing echoes that are tugboats moving through cavernous space. Sound bounces back and forth, all around.

"Stone That Can Only Be" has humour but also a small hint of blues passes through in some notes. Almost unrecognizable, but the movements are encompassing and enjoyable. "Stones That Only Have" feels like a piece from Stetson's recent New History Warfare II, if it weren't for Gustafsson breaking the door down. The battle that engulfs the second half of the piece is sublime.

This is a unique and fiery date that may not appeal to everyone. But if you are fan of both Colin Stetson and Mats Gustafsson, Stones is one of the best collaborations in improvised music you'll hear this year.

Charles Lloyd & Jason Moran: Hagar's Song

Jason Moran (piano)
Charles Lloyd (sax)
Hagar's Song (ECM Records; 2013)

One legend and one future legend meet in the studio... When Charles Lloyd and Jason Moran first started playing together a few years ago, I thought it was a fantastic meeting of creative minds. Over the course of a couple of records they have demonstrated deep beauty and an understanding of how each moves lyrically.

Now on their first venture as a duo without a quartet or ensemble, they show just how grand their relationship has become. Hagar's Song is a brilliantly extensive and emotional session with multiple stories. The performances are full-boded and encapsulating. This session at times reminded me of two sessions made by the late, Frank Morgan (sax) with George Cables and John Hicks on piano. Contemporary yet technically well constructed.

"Mood Indigo" and "Rosetta" swing along gently with class and verve. Moran is playful yet always intricate at the keys on both tracks. While Lloyd's horn adds the mature element of a master. Beautifully executed and thoroughly rewarding especially during the swirling improvised sections in "Rosetta".

"Hagar's Lullaby" and "Journey Up River" feel like explorations in emotional distances. Both capture an ethereal vibe that resemble some of Lloyd's early 60s and 70s work. Moran's playing is solid and conventional in a calm manner that lends itself perfectly to introspection. The session closes with the soft ballad, "God Only Knows." A superb blend of love and longing that leaves a lasting impression on the ears and memory.

Hagar's Song has Moran and Lloyd in stellar form and sounding cool and contemporary. It's cuts against the more adventurous nature you may have heard Moran in on his own albums. But it's an excellent balance for both musicians. I loved this session. It's easily one of my albums of the year. And I can't stop listening to it. Highly Recommended.

Paul Lytton & Nate Wooley: The Nows

Paul Lytton (percussion)
Nate Wooley (trumpet)
The Nows (Clean Feed; 2012)
Ikue Mori (electronics)
Ken Vandermark (sax, clarinet)

An ambitious duo project from Nate Wooley and Paul Lytton that began only a few years ago but has evolved into an exciting collaborative effort. And with the two disc opus, The Nows, the listener gets to experience it in two separate live settings with guest musicians.

Lytton and Wooley have a chemistry that feels as though it goes farther back than just a few years. They begin their conversations slowly and roll into a volcano of improvised patterns that still maintain strong organic structure. "Free Will, Free Won't" features various crackles from Lytton's kit meshed against Wooley extended harmonics that feel like the tea kettle boiling over and no one cared.

"Abstractions and Replications" adds Ikue Mori's electronics to the proceeds. Mori's gadgetry turns the piece into an underwater scifi journey. There are smooth curling motions with tiny and intricate treatments. You have to stay still to hear the minor notes. This kind of skill requires the listeners undivided attention. And it's a brilliant discovery.

The second live set is with one of my favourite musicians, Ken Vandermark. "Automatic" sees Wooley share passages with Vandermark and it/s beautiful to hear the conversation escalate than drop out as one horn takes the lead. This all the while with Lytton ram shackling the hues in the background. It may read like chaos--but its a beautiful chaos. Vandermarks clarinet is deep and billowy.

"The Ripple Effect" is the shinning conclusion to this experimental journey. Wooley and Lytton are in fiery form and Vandermark quietly marches in toward the middle passages. Vandermark really compliments the duo, adding the exclamation points in each verse.

Lytton and Wooley are a powerful and emotion-bending duo that get even more creative with each guest musician. The Nows is another example of terrific collection of free thinking crafting new outlooks. An absolutely great live set.

Angelica Sanchez: Wires & Moss

Angelica Sanchez (piano)
Wires & Moss (Clean Feed; 2012)
Tony Malaby (sax)
Marc Ducret (guitar)
Drew Gress (bass)
Tom Rainey (drums)

Everyone knows I tend to rave about Fred Hersch and Jason Moran as my favourite modern pianists. But there are others that are emerging with the same talent and vision as these two future legends. Kris Davis is definitely one of those that I put in the list. Recently I have also been listening another bright and inventive composer, Angelica Sanchez.

Sanchez, now with her forth album (third for Clean Feed), hopefully will find a wider audience. With Wires & Moss, she explores an ever growing lyrical and conceptual structure that is both calm and free flowing. "Loomed" is an expansive piece with various layers of expression, tightly pulled together by Ducret, Malaby and Rainey. Sanchez and Gress play the static calm palate to the trio's frenetic brushes. But it's always the leader who carries the tune's soft undulating notes towards the close.

"Wires & Moss" is a stunning display of rolling melodies. Sanchez's performance is filled with multiple chord changes and jagged directional cues for the rest of the quintet. Early on, Ducret shines with crafty Arto Lindsay meets Thurston Moore type qualities. The piece moves up, down and outward. The rest of the group approach midway through and it becomes more poetic with each movement. Gress and Sanchez take the band quietly out with some beautiful passages.

Motionless might be the feeling you get from the closing number, "Bushido." This starts off gently but then moves roughly in staccato motion while consistently holding the listener in place. The entire quintet is scorching on this number and exemplifies Sanchez's creative vision that she has worked on since setting out as a leader over a decade ago.

Angelica Sanchez writes with a very cerebral approach that puts her in a category of the previous mentioned artist from my point of view. If you haven't experienced her music before--now is the time. Wires & Moss is absolutely brilliant and highly, highly recommended!

Black Motor w/Verneri Pohjola: Rubidium

Black Motor w/Verneri Pohjola
Ribidium (Tum Records; 2013)

Sami Sippola (sax)
Simo Laihonen (drums)
Ville Rauhala (bass)
Verneri Pohjola (trumpet)

A meeting of two growing sets of Finnish musicians, the Black Motor trio and Verneri Pohjola is a cause for celebration. The artfulness of Pohjola's trumpet and expansive sound of the Black Motor have produced the stellar, Rubidium. An album covers a small amount of ground but provides every bit of detail in the journey.

"Song Of India" (originally written by Rimsky-Korsakov, is wonderfully and creatively filled and stretched all over the place. While still keeping the underlining romantic nature of the original piece, the quartet do manage to bring in new bold structures that give the tune more improvisation and originality.

"Rubidium" and "Old Papa's Blues" feel like soulmates. Both tight ballad frameworks are definitely free formed epics that highlight each musician at their best during this session. A bright and intense conversion happens between Pohjola and Laihonen during the title that is just soft but still killer. "Old Papa's Blues" is an emotional dedication and celebration with the trio being more the focal point.

"Kynnyspuulla" is almost indescribable in its depth and beauty. Soulful, epic and the emotional distance that Sippola's sax travels in staggering. The piece is slow moving and drips with intensity. Moving passages of stillness and heartache, the quartet take the listener on a journey that is immediate and passionate.

Rubidium is a great session of young musicians with immense talent that continue to be on the rise. They are showing how expansive the Finnish jazz scene continues to be. This is an excellent outing and well worth checking out. I hope you dig it as much as I did.

Moskus: Salmesykkel

Moskus (trio)
Salmesykkel (Hubro Music; 2012)
Hans Hulbaekmo (drums)
Fredrik Luhr Dietrichson (bass)
Anja Lauvdal (piano)

Truly an unbelievably beautiful debut. Moskus show a balance maturity and youthfulness that breathes new life into a scene that is filled with trios that now starting to branch outward. With Salmesykkel, Moskus manage to keep things contemporary yet with clear traditional lyricism.

Moskus set aside the cold, distant nature usually associated with trios from the Scandinavian region in favour of keeping things simple. The title track opens the album with vibrancy and adventure. Lavdal's notes delicate, airy and inviting. Dietrichson and Hulbaekmo add textured beats that provide a subtle groove later incorporates small closing gospel lines. A beautifully written opening that carries a clam spirit throughout the session.

"Farlig Norsk Hengebru" is jovial and well collected. Hulbaekmo's drums and percussion drive the rhythm. While Lauvdal weaves in and out with improvised lines all with the background of a tight bass line melody from Dietrichson. The piece quickly becomes engrossing with the trio improvising their way into the closing notes.

"Dagen Derpa Og Veien Tellbaksjatt" and "Creperie De Marie" are more introspective and free moving pieces that show Moskus' capability of moving from captivating rhythms to personal and thought provoking themes. Closing on the trio's on name with "Moskus" is bold. Something about the piece for me had me thinking "what if Nick Cave laid down lyrics for this?" What an amazing collaboration. It's a dark ballad but executed with such beauty and grace you could cry.

Salmesykkel is a stunning achievement of maturity from a young trio that is still finding its voice. But that may come sooner than you think. This a superb debut from Moskus and highly recommended.

The Thing w/Neneh Cherry: The Cherry Thing

The Thing w/Neneh Cherry
The Cherry Thing (Smalltown Supersound; 2012)
The Cherry Thing Remixes (Smalltown Supersound; 2012)
Neneh Cherry (vocals)
Ingebright Haker-Flaten (bass)
Paal Nilssen-Love (drums)
Mats Gustafsson (sax)

For a group that has already covered Groove Armada, PJ Harvey as well as reconstructing free jazz over the last 15 years in various forms, The Thing teaming up with avant punk, soul wordsmith, Neneh Cherry is really nothing out of the ordinary. Together they have created the poetic, Cherry Thing. And it really demands your attention.

A rustic fusion of love and social consciousness through Cherry's lyrics and The Thing's ability to timely move from gentle to aggressive with superb balance. "Cashback" illustrates this agility with funk and free thinking and harsh lyrical content that knocks you back and keeps you fully engaged. Nilssen-Love, Gustafsson and Haker Flaten cut a crisp and incisive groove that on "Too Tough To Die" (written by Martina Topley Bird). With Cherry at the helm, she and the trio really make the piece their own. Slightly unrecognizable but completely excellent.

The ballad "What Reason Could I Give" beautifully closes the session with shimmering echo treatments on Cherry's vocals with an emotional backdrop of notes by the trio. Lovely stuff.

What better way to follow this superb session than with an equally unexpected but blistering re-interpretation, The Cherry Thing Remixes. Opening the album with the lovely closing number of the original "What Reason Could I Give" is even more haunting with muted and echo chamber piano notes clashing against 80's electro drums. Really turns the piece into a ghostly journey through love and despair.

"Accordion" is fierce with a mixture of pulverizing keyboards and treble effects that later creates a dreamlike atmosphere for a piece that originally hung on Cherry's rhymes. Now, engulfed in anthematic electronics yet still holding its effectiveness. "Golden Heart" is layered with tribal beats and wah wah guitars creating a hypnotic mixture that slowly builds but never overspills. Just as intense as the original but with more of a swirling romanticism.

One of my favourite groups, The Thing continue to do the creative and the challenging with every project. In both The Cherry Thing and The Remixes they have managed to capture the vibe of the avant garde and the dance floor with unbelievable results. These are two richly rewarding projects that should not be missed.

Mostly Other People Do The Killing: Slippery Rock!

Mostly Other People Do The Killing (quartet)
Slippery Rock! (Hot Cup Records; 2013)
Jon Iragbagon (sax)
Kevin Shea (drums)
Peter Evans (trumpet)
Moppa Elliott (bass)

I don't know how they do it, but with each record, MOPDTK get wilder with clever humour and intricate creative compositions. Non-secquitor song titles and ironic covers hide a quartet of immense power and quality. On their newest release, Slippery Rock! they again bring an electricity and excitement that intertwines a jam session with a revival.

Opening with the soaring and multi-layered "Hearts Content," the quartet set in for more of a rock oriented groove through Shea's crisp timing and Elliott's funky bassline before the tune quickly gets turned on its head. Rhythms and patterns that are circular, jump cutting and then linear - all still with precision and avant garde accuracy. Stunning!

"Can't Tell Shipp From Shohola," a bluesy ballad with minor improvised periods highlights the ability of MOPDTK to shift styles but still maintain a sense of adventure and airiness that pulls in both casual and well-seasoned listeners.

The rhythm and blues side of jazz is always present throughout the group's existence. And it is on display here with "Sayre" and "Yo, Yeo, Yough." Both pieces have soulful elements filling the forefront but with intense concentration on reshaping everything else. This can be heard on the improvised section of "Yo, Yeo, Yough." Elliott and Irabagon have very hard-pounding arrangements riding along side a fierce set of patterns laid out by Shea.

"Is Granny Spry?" is a nice way to close another interesting journey in the world of MOPDTK. The album is somehow dedicated to smooth jazz of the '70s and '80s but you would never really know it. Parts of "Is Granny Spry?" give a hint at what was going on in the mind of this group as they were writing and performing. It is soulful and melodic with heartwarming passages. And just when you think this is where the funk comes in--they change direction and leave you with question marks all over your face.

Scattered lines and chords show Mostly Other People Do The Killing as a group that really don't want to be confined to the definition of jazz and whatever its subsets may be. This is a group that is having fun with every note and every structure. Slippery Rock! is yet another bright spot that once you're under the MOPDTK spell - you can't get out. Highly Recommended.

Best Albums Of 2012

JazzWrap revisits another stellar year in music for 2012.

Another jazz year with a host of new discoveries. Here's some of the exciting records we heard over during 2012. I hope you discover some new ones here too.

I decided to stop doing a list in any numerical order (expect my personal favourite album). It just doesn't make any sense to me. These are just the records we've spun the most over the year. Next year looks to be just as good.

Album of The Year: Mary Halvorson: Bending Bridges

Amy Cervini: Digging Me, Digging You
Scent Of Soil
Max Ritcher: Vivaldi Recomposed
Bernocchi Budd Guthrie: Winter Garden
Esperanza Spalding: Radio Music Society
Jeff Parker: Bright Light In Winter
Neil Cowley Trio: The Face Of Mount Molehill
The Right Now: Gets Over You
Niels Lyhne Lokkegaard: Vesper
Cakewlk: Wired
Ebo Taylor: Appia Kwa Bridge
Wadada Leo Smith: Ten Freedom Summers
Josh Berman: There Now
Bruce Barth: Three Things Of Beauty
Branford Marsalis: Four MFs Playing Tunes
Traben: Push
Jakob Bro: Bro/Knak
Lund Quartet
Martin Kuchen: Hellstorm
Aram Shelton: Everything For Somebody
Portico Quartet
Scott McLemore: Remote Location
Platform 1: Takes Off
Hugo Carvalhais: Particula
1982 + B.J. Cole
Eric Revis: Parallax
Anat Cohen: Claroscuro
Ivar Grydeland
Arts & Sciences: New You
Jesper Zeuthen: Plus
Marek Jakubowicz: Feelings
Baloni: Fremdenzimmer
E.S.T.: 301
Ballrogg: Cabin Music
October Trio: New Dream
Andres Thor: Monokrom