Nick Hempton: Odd Man Out

Nick Hempton (sax)

Odd Man Out (Posi-Tone; 2013)

Art Hirahara (piano)

Marco Panascia (bass)

Dan Aran (drums)

Michael Dease (trombone)

I f-n'! loved this record! Sometimes you're just blown away by the basics and the attention to tradition. That's what Nick Hempton has done on his third album, Odd Man Out. Deploying the same group as his previous excellent outing, The Business, with Michael Dease replacing Yotam Silberstein, Hempton's quintet execute a smooth and stylish return.

While there's nothing that will break new ground here--it's the way its performed and constructed that I loved the most. Hempton's prerogative is to groove, all the while showing a real strong sense of leadership and maturity in this new set. "The Step Up" and "Nights And Mornings" both show a steadfast commitment to hard bop and heartwarming balladry. Hemptons' interplay with Hirahara and Panascia is superb.

Hempton's sound continues to grow and become more well rounded. While the tunes on Odd Man Out have that hard bop feel to them, you can feel from "A Bicycle Accident" that Hempton's writing is starting to move many new directions. Here Hempton applies multiple layers and patterns that allows the rest of the group to move freely and shape new ideas over the course of the piece.

Nick Hempton's quick growth over the last few years has been exciting to watch and listen. Odd Man Out is another step forward in that progress. And it's a great record with grooves and rich structures. Worth every note rooted in tradition but vibrant for now.

Rob Mazurek/Exploding Star Ensemble: The Space Between

Rob Mazurek/Exploding Star Electro Acoustic Ensemble
The Space Between (Delmark; 2013)

There's always been that spot of Sun Ra influence within cornetist, Rob Mazurek's music. Exploding Star Orchestra is probably the best example of that exploration. On his latest, The Space Between, with a fully tweaked version of the orchestra under the configuration of ensemble, Mazurek delivers a haunting and beautiful document of futuristic soundscapes. Very cinematic and demanding your attention to little details placed throughout.

Swirling, pulsating electronics inhabit the sessions opening number "Vortex 1-5." Keyboard, piano, percussion, looped sounds,cornet and more take you on journey through liquid space. It's trippy but does steady itself and gives you time to catch up and drop yourself inside the swirling structure just in time to witness Mazurek's raising tones on cornet.

Most the album moves as one consistent piece, but the passages in "Shifting Sequence," and "Space Between" provide some wonderful insight into the Mazurek's compositional vision of the session. Everything is very open. And while there may be a guidepost to follow, the musicians are allowed the freedom to get there on their own terms.

The vocals on the closing number, "Indra's Net" are provided beautifully by Damon Locks. His delivery is spiritual and uplifting. Like Sun Ra or early Pharoah Sanders work, it is the denouement to a long self-actualizing journey.

Again, Rob Mazurek has shown he is an extremely creative composer and consistently challenging his previous works and the musicians that surround him. The Space Between could easily be the sound to suspense thriller. Or even the soundtrack to your psyche. Highly Recommended.

Satoko Fujii: Spring Storm

Satoko Fujii (piano)
Spring Storm (Libra; 2013)
Todd Nicholson (bass)
Takashi Itani (drums)

Satoko Fujii is one of the most prolific composers/pianists on the avant garde scene. I've really loss track of how many records she has in total. Even just in the last year! But what I can say is, every record is a different adventure.

On her latest, Spring Storm, with new trio featuring Itani and Nicholson, she still explores some complicated yet beautiful structures in various settings. This allows the compositions to develop very organically and shift in and out of improvisation and melody.

"Convection" slowly builds in this manner. The slow pouring of Fujii's notes and the pulsating tones from Nicholson all rubbing against the mulit-layered patterns emenating from Itani's kit--give the listener something to experience at every turn. Especially the closing moments of the piece when Fujii and Itani have some forceful exchanges that bleed right into "Fuki" which allows Nicholson and Fujii and repeat the conversation in a different mode. Once the entire trio joins in during "Fuki," it becomes feverish and fun. Nicholson's performance is terrific and energizing.

"Tremble," the most ("slightly") direct piece on the album is a soothing introspective piece that guides the listener out from the long journey of soundscapes. A perfect conclusion to a delicate and diverse story laid out brilliantly by it's composer.

Again, in just a few songs, Satoko Fujii has show why she is one of most exploratory and vital composers in the avant garde movement today. Spring Storm is excellent opening example and actually a good starting point form those not already familiar with her material. Highly Recommended.

Harris Eisenstadt's September Trio

September Trio
The Destructive Element (Clean Feed; 2013)
Harris Eisenstadt (drums)
Angelica Sanchez (piano)
Ellery Eskelin (sax)

Two years ago, I was floored by the self-titled debut session from this trio of New Yorkers, September Trio. Now with their follow up, The Destructive Element, I can say I'm not surprised by their brilliance. It's just the way they are.

The movement on The Destructive Element is more fluid and with well balanced song structure. "Swimming" is a beautiful midtempo love letter filled with solid, almost gospel influenced chords from Sanchez. While Eskelin's romantic but muscular tone feels like Sonny Rollins hovering over the session.

Eisenstadt always seems to write the pieces with his band member's freedom in mind. On "Back and Forth," and "The Destructive Element" he gives Sanchez's classical ideas the floor. And Eskelin layers a solid structure on top. Eisenstadt's brushes provide the subtle hues for a lovely, all-around experience.

Eisenstadt does allow the session to be ballad or bop driven. The trio embarks on improvisation through "Additives" and "Here Are The Samurai." Both have rolling melodies from Sanchez and crashing movements of Eisenstadt's adventurous spirit on the kit. Free-spirited yet providing structure all the way.

The Destructive Element is more developed than it's predecessor but also slightly different. Still keeping an introspective vibe but also providing more opportunities for its members to expand on their own. Harris Eisenstadt has become an excellent composer in various settings. For me, September Trio is one of his best.