Rodrigo Amado: The Flame Alphabet

Rodrigo Amado (sax)

The Flame Alphabet (Not Two Records; 2013)

Gabriel Ferrandini (durms)

Jeb Bishop (trombone)

Miguel Mira (cello)

I've come to learn that each Rodrigo Amado record is going to be exciting and a challenge. With his out Motion Trio added by Chicago trombonist, Jeb Bishop, Amado delivers another fun and energetic performance that keeps the ear attuned.

The Flame Alphabet is the quartet's first studio album, following their live debut, Burning Live At Ao Centro.

You would think that in the studio the vibe would be contained and little less vibrant. You would be sorely mistaken. The sound is still bold with lots of urgency. "Burning Mountain" and "Flame Alphabet" both have Amado in fine form. Tearing into notes and undulating patterns like a reincarnated Archie Shepp. Bishop flexibility allows for great interaction between both Amado and Ferrandini which makes for some excellent concentration on the listeners end. But it is extremely rewarding.

"Into The Valley" is a scaled back piece. Amado's horn is sparse, while the rest of group revolves around a small series of improvised tones. This all comes crashing against fierce lines delivered by Mira and Ferrandini as the track moves forward. "The Healing" closes the album with grace. A ballad the drifts gently on the waves of Amado's notes. But Bishop provides a tones that almost feels like a trumpet.

Rodrigo Amado's new ensemble is a spot-on quartet that delivers with every note. Detailed, intricate, electrifying and inventive from beginning to end. The Flame Alphabet is an album that you will come back to--again and again.

The Intersection: The New Mastersounds

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

The New Mastersounds
Out On The Faultline (One Note Records; 2012)
Joe Tatton (keys)
Pete Shand (bass)
Eddie Roberts (guitar)
Simon Allen (drums)

In short, this is the best New Mastersounds record to date. An awesome tour de force. On their eighth studio album, Out On The Faultline, we get the usual soul-funk fusion. But as with recent sessions the quartet have blended more jazz and vocal elements into their sound. The results are slowing bearing rich fruits.

The hyper voltage of the two opening numbers, "You Mess Me Up" and "Way Out West" are classic TNM. Allen and Roberts are blistering on both tracks. Setting the pace for an all-out groovy jam party.

"Ding-A-Ling" is a party call-to-arms. Just a straight up dance number. Chaotic and potent, with some excellent horn work from Joel Cohen. All alongside the twisting jumpin' jivin' party lyrics from the group. "Turncoat" for me, had a little spy-jazz vibe to it. The haunting keyboard work and bluesy guitar lines from Robert makes for some added heavy soul.

"Summercamp" is a dreamy, funky midtempo piece that feels slightly different than previous TNM numbers. It has an ethereal nature to it (circa early Paul Weller solo or even Mother Earth). Shand and Tatton add the creative framework throughout. But the soulful guitar of Roberts comes in towards the middle and carries the tune through a number sublime changes.

While much of The New Mastersounds work has been based in the American soul and British Acid Jazz vibe; the quartet in recent years has really grown and developed an excellent voice and direction. Out On The Faultline is a superb document of over a decade of work. And is easily one of my albums of year. Well worth any amount of money it cost to get it. Highly Recommended!

Ken Fowser & Behn Gillece: Top Shelf

Ken Fowser (sax)

Behn Gillece (vibes)

Top Shelf (Posi-Tone; 2013)

Michael Dease (trombone)

Dezron Douglas (bass)

Rodney Green (drums)

Steve Einerson (piano)

A Ken Fowser & Behn Gillece outing is always going to be top-notch and smooth; like good old fashion club date. With their fourth album, Top Shelf, they keep the relaxed bebop aesthetics of their previous albums while assembling yet another stellar array of musicians to assist in molding their material.

A steady, straight forth "Slick" leads the way, with some terrific bold notes from Fowser and triple toned patterns from Green and Gillece. A strong opening with Dease as a great counterfoil for Fowser.

"Ginger Swing" brings Einerson up in front alongside Fowser nicely. Gillece comes in and rips a set of notes midway through that are balanced perfectly from Green. But Gillece's agility really shines here as he begins some nice improvising before things swing back to Einerson and sextet move towards the closing notes.

"Top Shelf" is a killer piece with a slight Latin tinge. The rhythm is a scorcher and the beat laid down by Douglas, Gillece and Einerson is infectious. "Proximity" while dreamy also features Dease in a nice comfortable roll (almost Fuller-esque). I really love the way each member gets their opportunity to shine on this closing number.

One of the great things I've loved about Ken Fowser and Behn Gillece is their tight arrangements and dedication to tradition. Their writing gets stronger with each record. And their ability to find the right members is extraordinary. Top Shelf is yet again, another will delivered document from a duo that is continually growing and finding an exquisite voice.

Fred Hersch & Benoit Delbecq: Fun House

Benoit Delbecq (piano)
Fred Hersch (piano)
Fun House (Songlines Recordings; 2013)
Mark Helias (bass)
Gerry Hemingway (drums)
Jean-Jacques Avenel (bass)
Steve Arguelles (drums)

It's always an exciting prospect when two great conceptualists combine their ideas. The results can be sublime. And that is exactly what happens on Fun House, the new collaboration between Fred Hersch and Benoit Delbecq.

A fantastic intersection of classical tradition, jazz ethos and soundscapes. Delbecq known for his complex patterns and sparse ambience. Hersch renown for his creativity, elegance and agility to move the jazz tradition forward. These elements are pulled, stretched and expanded through Fun House in various hues by an amazing double trio.

"Ronchamp" is a heavy, dense piece that while revolving around improvised notes of Hersch and Delbecq, also serves as a platform of vibrant performances by Avenel and Helias. The movements feature deep lows and cathartic high tones. All folded into a short three and a half minutes.

"Fun House" and "Le Rayon Vert" are complexed ballads wrapped in third-stream harmonic melodies. They are at once blissful and serene. Then carving a pattern of improvised exchanges between each instrument. While "Night For Day" is the more traditional piece in this set. A straight ahead one, two bop rhythm. It's cool and playful as Hersch sounds like the shadow of Thelonious Monk.

The closing track, Ornette Coleman's "Lonely Woman," was also featured on Hersch's Alive At The Vanguard release from a year ago. Here in the double session, it has more atmospherics and a rich psychedelic feel. Still deeply personal but also crackling with life thanks to dueling conversation between the two pianists.

At times throughout Fun House it's difficult to discern which musician is which coming through the left and right channels. But that actually is the point. This set of accomplished musicians, whom have played together before in various configurations, sound like one ensemble in harmony. Fun House is an easy and control session with lots of dynamics that will be immensely enjoyable to admirers of both Delbecq and Hersch. But also for those seeking something new and introspective. Highly Recommended.