The Intersection: Caravaggio

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

Caravaggio (group)Bruno Chevillon (bass, electronics)
Benjamin de la Fuente (violin, mandocaster, guitar, electronics)
Eric Echampard (drums, percussion, electronics)
Samuel Sighicelli (hammond organ, keyboards)

Brimming with influences of King Crimson, Can and fusion era Miles Davis, French quartet Caravaggio are deserving of wider recognition. Blending found sounds, electronics, steady basslines with crashing and cascading guitars and drums, Caravaggio create rock music with experimental jazz tendencies. It's reminiscent of Norwegian groups Elephant9 or Humcrush.

On their 2008 self-titled debut, Caravaggio opens like a submarine rising to the surface with "Canicule." Blips and crackles maintain the pace throughout the fast half of the album until the heavy laden "Platz." It feels like Miles Davis meeting up with Korn. Dark, dense and filled with enough slow energy you are bound to be happily depressed by the closing cacophony of Echampard's drums and the screeching guitar lines.

Caravaggio#2 moves in a slightly more song structured direction. With a similar and just as sinister version of Denis Hopper's "Platz" (a reworking of "Platz" from the debut), Caravaggio shows a great deal of growth in the four years between albums. "When Will You Be Angelic" and "Anybody Here" come on fast and furious with whizzing guitars and keyboards followed by drum patterns. "Anybody Here" transitions into a funkadelic style groove towards the latter moments which in continual listens seems like pure genius. "Profondo" closes the album with King Crimson like quality - slow moving but monstrous in structure.

While prog, experimental fusion can be envisioned throughout Caravaggio's material - the quartet are focused on providing something different with their album. A sense of adventure and intensity that shows that its not just the Scandinavian territories that explore in new atmospherics. Here's to hoping this quartet is around for a while.

Susana Santos Silva & Torbjorn Zetterberg: Almost Tomorrow

Susana Santos Silva (trumpet)
Torbjorn Zetterberg (bass)
Almost Tomorrow (Clean Feed; 2013)

The meeting between Santos Silva and Zetterberg is something I wouldn't have even thought about a few months ago. But in listening to their recordings both with Svenka Kaput and Lama, the desire for experimentation should have seemed obvious.

So Almost Tomorrow is the perfect bridge between to the groups and excellent collaboration of two emerging talents in the European scene.

Santos' playing is becoming more bold and creative with each release. She brings a rich spirit of ideas that for me, is reminiscent of Joe Mcphee. Zetterberg has been fearless on the bass; and is also growing in stature with each performance.

These ideas and brashness are played out on tunes like the "Columbus Arrival In Har jedalen." With its interesting blend of blues-like tones and Portuguese flavouring, "Columbus..." is absorbing and adventurous to mind and ear.

"Almost Tomorrow" opens with a heavy solo from Zetterberg as Santos joins in the tune floats between folk and experimental with ease. Both musicians exerting strong and very well placed extend passages.

"Notskalmusik #6" is possibly the most accessible piece on the album. A short but emotional ballad led mainly by Santos, with Zetterberg adding soft touches around the edges.

Almost Tomorrow is a beautiful session that may have come out of the blue but it's perfect timing for all of us. A great steady, detailed listen and rewarding with every note. Highly Recommended.

Christian McBride: Out Here

Christian McBride (bass)
Out Here (Mack Avenue Records; 2013)
Christian Sands (piano)
Ulysses Owens (drums)

Christian McBride has stretched both ends of the jazz spectrum in his almost two decade career as leader. He's released a string of beautiful hard bop albums coupled with an exploration in more funk/fusion outings. Both experiences are exemplary. On his latest, Out Here (his second album this year), he has bit of a return to form. A trio session that shines with vibrancy and youthfulness.

"I Guess I'll Have To Forget" provides the glowing confidence McBride has in his bandmates. The gentle and uplifting tone Sands takes is accompanied by the infectious timing exuded by McBride and Owens; a lovely number which is matched superbly on the next piece "Easy Walker." "Easy Walker" starts in a gospel/blues tone and slowly rides it's way upward with some hauntingly funky plucking from McBride. 

The happiness and youthfulness I referred to is presented in the sweet rhythms of "Who's Making Love." It's the funky, fusion, rocked up by McBride from recent history but filled with a hard bop joy that I haven't heard in awhile. And I swear there's an element of Queen's "Another Bites The Dust" in there somewhere.

The killer piece during this session is obviously McBride's rendition of "My Favourite Things." It's thoughtful and well structured. Sand's performance is sublime. McBride's arrangement favours Sands and Owens. He allows them both freedom to extend the notes and create some patterns that turn this into more than just the usual standards cover.

Out Here sets a brilliant and compassionate tone that lets the listener slowly develop and become enveloped in sound, vision and lyrical tones. An excellent outing from one of the best veteran bassists on American jazz scene today--Christian McBride.

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.