Tomasz Dabrowski: Tom Trio

Tomasz Dabrowski (trumpet) 

Tom Trio (Ilk; 2013)

Nils Bo Davidsen (bass)

Anders Mogensen (drums)

I first came across Tomasz Dabrowski's work as a member of Tomasz Licack's brilliant albums, Quintet and Trouble Hunting. Now Dabrowski has released his first trio album, Tom Trio that delivers with intensity and very creative agility.

While this is his first album as leader, his work as sideman has definitely helped in building his voice and ideas. It all comes together beautifully on Tom Trio. "7 Days To Go" has a slow melodic build that reminds me of some of Nate Wooley work. It's a narrative that scales gently, added by the precise brush treatment from Mogensen.

"Wave" has a fantastic multi-layered rhythm as laid out Mogensen. Both Davidsen and Mogensen are giving the reins to run ramped, so-to-speak. The result is a nice convergence of blistering trumpet work from Dabrowski with succinct slicing and calculation from bandmates. This culminates with some terrific improvised sections towards the closing moments of the piece.

"European 46" shows Davidsen alongside Dabrowski in a groovier setting. The piece is probably the most infectious number of the session but still holds creative strategy of the overall artist vision. "This Way Up" is a whole lot of fun. Led by the driving thumbing of Davidsen, the piece soon turns into a nice bit of hard bop. The exchanges between Dabrowski and Davidsen are superb and infectious.

Tomasz Dabrowski has crafted a brilliant debut with Tom Trio. It's rich in diversity and powerful in its execution. This is one of those albums that you must seek out - now!

Soren Dahl Jeppesen

Soren Dahl Jeppesen (guitar)

(photo: Paw Ager)

Young, but with a veteran spirit, Soren Dahl Jeppesen is increasing his presence on the scene. With a solid enveloping tone, Jeppesen has similar qualities to more seasoned guitarists like Bill Frisell and even his contemporary Jakob Bro. But he is finding a growing voice over his highly rewarding three albums as leader.

After two wonderful albums with the band Pauseland as well as through multiple session work, Jeppesen delivered an impressive debut with Route One (2010). A melodic set featuring echoing effects and heavy emotional resonance is exemplified by the exchanges between Jeppesen and saxophonist, Óskar Guðjónsson and drummer, Jakob Høyer. "A Fools Paradise" and "Less" both provide a nice mixture of calm cylindrical rhythmic patterns alongside heavy percussion, which make for a exciting and intriguing experience.

The follow up, Red Sky (2011) is more song based with lots of smooth edges. That doesn't mean Jeppesen went for a commercial sound - far from it. This is just a more mature album. The quartet has more freedom of movement in his new pieces. "In The Loop" weaves small atmospherics in Jeppesen's playing against a backdrop of soulful melodies from the rest of the group. "At Ease" has the Americana vibe that has influenced a large majority of guitarists works. It would be interesting to hear this piece with lyrics. The melody is very lovely and warm.

With the arrival of Pipe Dreams (2013), Jeppesen takes a significant leap forward; a nice balance between the European and American approaches to spacial structures. The addition of Simon Toldam (piano) for the opening "Insomnia," opens the sound for an already steady and collaborative quartet. Toldam's playing is full-bodied and gives the guitar a new challenge. I loved the distancing echoes of Jeppesen's lines.

He maintains a dense and sparse motif throughout but Jeppesen does move into different landscapes as with the Latin-tinged "Fallback" and the very effected and heartfelt "Blinded" and "Broken." Both shoulder strong lyrical passages either from Toldam on "Blinded" or Guðjónsson on "Broken."

"Pipe Dreams" and "Gloom and Doom" while expressing more somber themes, actually lay within some sublime imagery as you begin to peel off the surface. "Gloom & Doom" adds more darker electronics and an almost psychedelic feel thanks to Jeppesen's harmonic delivery. "Pipe Dreams" is slightly more direct but with Toldam and Hoyer being the driving forces.

Soren Dahl Jeppesen has quickly made an impression on the community at large with a solid and growing catalog of maturity with each record - Pipe Dreams being the brilliant gem so far. I say "so far" because history is still not written. Jeppesen may just be the unheard thing at the moment but you and all our other friends now have the chance to spread the word. Pipe Dreams is a highly recommended album for every ear. If not the year.

Ingrid Laubrock Anti-House: Strong Place

Ingrid Laubrock Anti House
Strong Place (InTakt; 2013)
Ingrid Laubrock (sax)
Kris Davis (piano)
Tom Rainey (drums)
Mary Halvorson (guitar)
John Hebert (bass)

An incredible second session from Ingrid Laubrock's Anti House. With Strong Place, the ensemble has delivered a solid effort that surpasses the already superb debut.

There's always talk (especially from me) about exploring and finding the melodic path within the free flowing improvised patterns on many projects. That's no different on Strong Place. But the while the origins may be hard to find at first, a quiet listening session later unearths them slowly and uniquely.

Laubrock's horn wraps the quintet in a beautiful tornado of sound on both "An Unfolding" and "Der Deichgraf." With Davis and Halvorson pulling closely side to side on both pieces with a humorous and lovely effect. Rainey and Laubrock also share some nice staccato passages before lending way for a gentle conversation with Halvorson's harmonic delivery.

Scattered patterns fill two-thirds of "From Farm Girl To Fabulous, Vol. 1." This set by Halvorson, Davis and Laubrock; before Rainey and Hebert slowly move in providing additional bit and a chance for the melody to evolve thanks to the bands leader.

When looking for that one song with melody, you just might find it at the end. "Here's To Love" delivers on that idea with a great balance of soft passion and experimentalism. A crisp texture from Laubrock is accompanied by Rainey and Hebert allowing the quintet to express emotions in a somewhat well structure fashion. Slightly different than the rest of the session but a welcome way to close.

All the members of Anti-House play together in various forms. And each record is different thanks to the leaders. But with Anti-House they seems to be able to make expressions and experiment in ways that their other group done allow. Weird, but with creativity like this, it's should be expected. Strong Place is a solid second effect from a blossoming super-ensemble.

Ellery Eskelin: Mirage

Ellery Eskelin (sax)

Mirage (Clean Feed; 2013)
Michael Fromanek (bass)
Susan Alcorn (guitar)

Ellery Eskelin is a troubadour. His creative talent has been on display both as leader and member for almost three decades. A warm and enveloping texture to his recordings is always present. On his latest, Mirage, his display an intriguing outback journey that feels like a desert soundtrack.

Susan Alcorn's shimming opening chords on "Rain Shadow" forecast a session that is filled with majestic passages and mysterious undertones. Eskelin's notes weave slow a gently around bass and guitar and accentuate the haunting nature of piece. "Saturation" is an rolling improvised piece that while each member seems be moving in divergent directions by midway, a slight melody evolves and then slowly deconstructs. Alcorn and Eskelin play off one another beautifully.

There are times when Eskelin's tones sound like late period Ornette Coleman circa the Naked Lunch soundtrack. One of those moments for me was the epic piece "Downburst." A slow moving blues style ballad mixed with intrigue and experimentalism. Fromanek and Alcorn have silent and introspective conversation throughout. This, while Eskelin's journey moves across like broad strokes of a small paintbrush. Lovely and lengthy.

Mirage is document that paints a beautiful and luxurious picture with influence of avant garde, blues and Americana. This, all resulting in an excellent soundtrack for a Summer journey. Enjoy a very deep listen.