Kasper Tom 5: Ost Bingo Skruer

Kasper Tom 5
Ost Bingo Skruer (Barefoot Records; 2013)
Kasper Tom (drums)
Rudi Mahall (clarinet)
Jens Mikkel Madsen (bass)
Tomasz Dabrowski (trumpet)
Petter Hangsel (trombone)

I have enjoyed recent releases from Danish drummer, Kasper Tom--most notably his work with Fusk. On his latest project, the Kasper Tom 5 and their debut Os Bingo Skruer, Tom shows again an excellent sense of diversity and creativity.

Ost Bingo Skruer is fun and widely expansive. At times the horn based quintet resembles a dream meeting of The Vandermark 5 and Dirty Dozen Brass Band. The opener, "Doner macht schoner" embodies some odd arrangements and structures but somehow floats into a very catchy groove enhanced by Mikkel Madsen's infectious plucking.

"Kusk" opens with some quiet yet free moving lines from Tom as each member slows joins in. Mahall's playing stands out here as the clarinet becomes the main focus in the earlier stages. Then Mahall shares sublime exchanges with Dabrowski and Hangsel.

"Everything All The Time" is a great display of the quintet's expansive sound as they improvise and cut a blistering patten that turns inward in its final chords but strikes a lasting response in the listeners consciousness. "Parat Krabat" closes out a very dynamic session date with surprisingly hard bop traditional influences on display. A great way to end a complex yet captivating date.

Kasper Tom as shown himself again as a bold and resourceful composer who can gather the musicians into a challenging situation and produce some material of wonder and fresh exuberance. Ost Bingo Skruer is a great record that challenges conventions but is also rich and fun to experience. 

Akira Sakata & Giovanni Di Domenico: Iruman

Akria Sakata (clarinet. sax)
Giovanni Di Domenico (piano)
Iruman (Mbari; 2014)

An absolutely brilliant duet session from Giovanni Di Domenico and Akira Sakata! While yes, a good majority of Iruman is improvised, the two musician smoothly create a beautiful soundscape that this lush and romantic. And its stands out more than its improvised parts.

"Yellow Sand Blowing From China" and "Lotus Blossom In A Old Pond," are both deeply involved numbers but the intricately place notes by Di Domenico set a romantic path for listener. This run tangent to Sakata's sprawling lines and once blended together become bold and outrageous statements of adventure.

On the fresh and rampant "Bud I," the duo show a marvelous combination of notes. This piece felt reminiscent of Ornette Coleman with Sakata running up the scales at full-blast. Di Domenico following with great agility. "Papiruma," is more a spiritual outing between Sakata utilizing his improvised vocals along side Di Domenico's arpeggios on the keys. Exciting and challenging movements and worth treasuring.

Throughout Iruman you get a sense of a solid understanding between the two musicians; in addition to a edict to find other spaces for their lyrics to go. This is a daring yet pleasing session that flows nicely in free form as well as in an uplifting and emotional atmosphere. Highly Recommended.

Arni Karlsson: Mold

Arni Karlsson (piano)
Mold (Mold Music; 2014)
Scott McLemore (drums)
Porgrimur Jonsson (bass)

You know, I sometime wonder if artists like Arni Karlsson, Sunna Gunnluags and even American Danny Fox, were on larger labels like ACT or ECM would they receive more acclaim and listenership. I do feel the answer is a resounding yes.

But then again, they could also get also lost is in mountain of similar projects from those labels. So I guess it a good thing that we get to discover these artists on our own and enjoy their continued development. And that is exactly what we see with Arni Karlsson's long awaited third album, Mold.

A bright and richly toned session that marks serious growth in the artists cannon. Opening with emotionally introspective piece "Smell Of Hay," Karlsson shows steady and brave compositional skills that reflect his classical training. But the inclusion of McLemore and Jonsson bring a different level of cohesion to this session immediately with this opening track. It's a fuller and more enveloping sound.

On "Saltstreaks," Karlsson opens the lyrical conversion to both his fellow members for some warmth solo pieces as well as nicely balanced exchanges one on one throughout the piece. "Growing" is a late night midtempo number where Karlsson's playing reminds me of McCoy Tyner. It's bold but with a lot of playfulness. The trios movement as well as on the title track show great depth and emotion. "Mold," while sounding cold and distant, is really more a painting of one's own longing for something more and how to create it.

Mold is a terrific and momentous leap for Arni Karlsson as a composer, leader and performer. And while he and a few others remain independent, their lyrical vision and growth continues to spread. And that's always more important than being on the popular label. Here's to spreading the word. Mold is one of JazzWrap's album of the year for sure. Highly Recommended!

Elliott Sharp's Aggregat

Elliot Sharp's Aggregat
Aggregat (Clean Feed; 2012)
Quintet (Clean Feed; 2013)
Elliott Sharp (sax, guitar)
Brad Jones (bass)
Ches Smith (drums)
Nate Wooley (trumpet)
Terry Green (trombone)

So I really don't own much Elliot Sharp as leader. I have a number of albums featuring him as a member. So when I spent the last few weeks listening to two albums from one of his most recent groups, Aggregat, I was completely blown away. A really well focused, well imaginative ensemble that is more than the sum of its parts.

Complicated and sometimes groovy arrangements sift through the group's debut, simply titled, Aggregat, "The Grip" and "Allelia." Both pieces featuring abstract constructions from Sharp on sax augmented by more soothing and sparse paths laid out by Jones and Smith. Sharp's horn sounding like barge horn alerting the other ships in its path.

Sharp is primarily on sax with this trio but also blends end his brilliant guitar work as well. This is featured on "Positronics," a lovely rolling number that at times reminded me of contemporaries Thurston Moore or Marc Ribot. While the piece may sound free floating, it slow builds into a nice groove that even feels track from Bitches Brew era Miles Davis.

On the Aggregat's follow up, Quintet, the group has expanded in size to its simply stated title. The addition of Nate Wooley and Terry Green provides new variety and depth to the overall sound and vision for Sharps group. "Katabatics" is a collision of horns, Smith's poly-rhythms and the steady nature of Jones, all boiling over into a boisterous but lovely celebration of creativity.

"Blues For Butch" while using the blues as its blueprint, is more than that. It is highly elevated piece with great sections of improvised and explosive work from the horn section. "Lacus Temporis" and "Cherenkov Light" are both more experimental in nature and give a nice glimpse into the individual talents of each musicians.

Both Aggregat and Quintet are solidly composed by the multi-instrumentalist Elliott Sharp and beautiful performed by his bandmates. This was a great starting point for me and hopefully a good moment for you the listener to become fully invested in Elliott Sharp's expanded vision.

Dorge/Sorey/Westegaard: Like Salamanders We Survive

Pierre Dorge (guitar)
Tyshawn Sorey (drums, piano)
Torben Westergaard (bass)
Like Salamanders We Survive (Gateway Music; 2014)

What happens when a trio just sits down in the studio and say to each other--"just play." A daring and sprawling accomplishment results. That's what Dorge, Sorey and Westergaard have done with Like Salamanders We Survive. This is an improvised session which comes off as very well structured and devised. But that's because these musicians are veterans at their craft.

The movements through Salamanders are effortless but also engrossing for listener. "Homage To Dragoman" is beautifully laid out. With spare line and slightly atmospheric effects from both Sorey and Dorge. While Westergaard adds a haunted bassline that crawls throughout the piece.

The trio present an number of divergent themes throughout the session. On "Who Am I To Play?," Sorey shows his unique and distinct talent at the drums. A kit that clatters and calms at all the right moments. While his bandmates counter with wonderfully synchronized patterns that go from frenetic to funky. At times reminding me of a mixture of Naked City meets Headhunters. Just beautifully creative stuff.

"Speaking Of Which" a dark and introspective piece with Eastern influences showcases a softer side during this session. It's dream-like in its approach and the trio still add a number of improvised passages to keep the listener's ears challenged.

Like Salamanders We Survive is a brilliant work that needs to absorbed in multiple listening sessions. I found myself coming back to particular tracks over and over. Constantly I found myself missing something. That's when you know you found a great record for your collection.

Kaja Draksler: The Lives Of Many Others

Kaja Draksler (piano)
The Lives Of Many Others (Clean Feed; 2013)

Hauntingly beautiful. That's the best way to describe The Lives Of Many Others from Kaja Draksler. This solo piano session brilliantly showcases Draskler's avant garde spirit which was already apparently on previous releases. But here we get a more intimate yet dynamic perspective.

Over the first three pieces we experience a diversity of free form and expansive classical structures that are fun, exciting and challenging. This is highlighted in "Communication Entropy/Andromeda." where Draksler moves within different motifs and crafts a wonderful storyline for the listener.

The extended piece "Suite: Wronger:Eerier:Stronger Than (Just A Thought):I Recall," is improvisation with perfected and well balanced lines. Quiet movements draped in watersheds of rolling notes moving in one singular pattern leaving you gasping at her accuracy on the keys.

While "Delicious Irony" and "Army Of Drops" are reminiscent of Vijay Iyer or Jason Moran as contemporary comparisons--Draskler's intensity allows you to get lost in the melodic atmosphere more than the aforementioned musicians but with a little more irreverence and subtle humour.

Kaja Draksler is already a growing name within the European community but with The Lives Of Many Others you can see how this rich and expressive voice should have big impact everywhere else very soon.

The Necks: Open

The Necks (trio)
Open (ReR; 2013)
Chris Abrahams (piano)
Lloyd Swanton (bass)
Tony Buck (drums)

With Open, their seventeenth album, Australian trio, The Necks turn more understated than usual. A calm ambience that is more reminiscent of recent Harold Budd material drifts effortless throughout this hour long piece.

Opening with subtleties of gentle drum beats and slow rhythmic patterns in the basslines, the trio takes you on slow journey through its first quarter of an hour. Setting an ethereal soundscape that is both soothing and adventurous, the piece begins to expand in its middle movements with the additions of chimes and more detailed and rolling layers of piano lines from Abrahams. These notes and effects quickly rotate into a very hypnotic passage.

And the final passage becomes more focused with a slight groove adjacent to the improvised patterns. These notes finally collide with the an almost Eastern melodic pattern to close out the session in a beautiful psychedelic manor.

For those unfamiliar with The Necks, you can always jump in at any point. With any record you find. Anywhere. But without a doubt, Open is an excellent starting point to find out what all your friends have been raving about for over a decade. This will be one of the best records you will ever own. I hope... Highly, Highly Recommended!

Marcin Masecki: Scarlett

Marcin Masecki (piano)
Scarletti (For Tune; 2013)

There is always discussion among classical fans (new and traditional) about how many times can you record and hear the great pieces. How many times do you really need to hear or buy Mahler's 5th, Beethoven's 9th or Mozart's Piano Concerto No. 9?

Usually my answer is--when you know it's a stellar re-interpretation. When a musician has taken it upon themselves to create it a new and make it their own. That's when you must own it. Well, we have come to that point with young Polish pianist, Marcin Masecki and his live release Scarlatti.

First, by taken on one of the few composers that you see/hear being interpreted--its a immensely refreshing. Most young musicians will automatically go for aforementioned composers. Masecki takes on a number of Scarletti piano pieces under the heading of Act I - Act IX. There is fierce perspective approach Masecki has with these piece. The attitude is invigorating and refreshing.

Act II, IV and Act VII are vibrant with lots of loud octaves and improvised segments that require intense concentration. The rolling notes are fun and haunting all at once. But as just as that excitement rises, Masecki delivers superb ability change directions and allow for more intimate moments of reflections. This is where you the listener become captivated by his skill on the instrument. The galloping nature of Act IV and VII are fruitful and entertaining and joyful on repeated listens.

Closing out the live recital are two Goldberg Variations that are both calming and temperate. Filled with improvised sections but still attached to its original bedrock, Masecki makes this a wonderful way to end his concert.

With Scarletti, Marcin Masecki fuses the expansion concepts of jazz into the strict confines of traditional classical. The burst of inspirations allows for a complete deconstruction of how both are perceived. So again--when is listening to the same piece enough? Never. When it's done superbly well like Scarletti. Highly Recommended!

MoFrancesco Quintetto: Maloca

Mofrancesco Quintetto
Maloca (Art of Life; 2013)
Francesco Valente (bass)
Johannes Krieger (trumpet)
Guto Lucena (sax)
Iuri Gaspar (piano)
Miguel Moreira (drums)

A surprisingly well crafted and swingin' debut as leader for bassist Francesco Valente. Maloca delivers shades of hard bop mixed with contemporary themes and musicianship that sparkle with each track.

Maloca has a very American feel emanating from its Italian composer. Valente's playing feels like a combination of classic Paul Chambers and a well balanced Christian McBride. The opener, "Tchap" and "Maloca" both present a refreshing vibe of young excitement. Lucena and Gaspar have blistering exchanges throughout the beginning of piece.  Valente stays calm and reserved letting his bandmates create new energy from his composition.

"Maloca" jumps with a hint of Latin flavour. But Valente doesn't want to re-create the past. This piece is focused on stretching out with some subtle chord changes by Gasper and Moreira. Valente patterns groovy and infectious but still understated. 

Valente's re-interpretation of Bela Bartok's "Romanian Folk Dances" is beautiful. A fierce piece to perform within the classical cannon. Originally featuring a violinist who must be in top form to navigate this piece. Valente turns this into a delicate and wonderfully emotional romantic march.

Closing out the album is "Soul" written by trumpeter, Johannes Krieger. This a smokin' number with excellent individual lines and toe-tapping rhythms, will make you think you just walk into the best nightclub in town.

Maloca is a refreshing and invigorating session that stays within tradition while still exploring and creating a new voice. A solid debut from Francesco Valente and his MoFrancesco Quintetto. Highly Recommended.

Steve Davis: For Real

Steve Davis (trombone)
For Real (Posi-Tone; 2014)
Abraham Burton (sax)
Larry Willis (piano)
Nat Reeves (bass)
Billy Williams (drums)

Steve Davis is in superb form on his new album, For Real. This is probably the best I heard in a couple albums now. While the bandmates remained the same for this album, with the inclusion of Abraham Burton, their tone and Davis' writing feels stronger and more confident.

"For Real" takes a calm but groovy approach, with some additional homage to the Blue Note legacy (you'll know what this means when you hear it). While keeping the hard bop tradition, Davis still manages to make his compositions stand above some of his contemporaries. The lovely ballad "Days Gone By," excels thanks to the raw but lush notes from Burton and the always steady hand of Willis. Davis' playing is understated and warm reflecting a soft elder statesmen quality.

"Daylight" closes out the album on a wonderful Brazilian swing. While having the infectious flavour, Davis crafts the tune with a number changes that allows for some adventurous movements throughout the piece. Not your typical number. And not you typical Brazilian influence tune. Well done.

With For Real, Steve Davis show that he has a lot more to write about and he continues to go from strength to strength. For Real is probably his best record to date for the Posi-Tone label. And its well worth seeking out. Right now!

The Impossible

The Impossible (trio)
The Impossible (self-produced; 2013)
Mitch Green (bass)
Sam O'Brien (sax)
Tony Irving (drums)

The Impossible are a Brisbane based trio that reflect the influences of might be Coxhill, Brotzmmann and more recent, The Thing or Vandermark 5 and Sonic Youth (with whom drummer, Tony Irving as played with in the past). But where those compassion lay, is also jumping off point for more creativity. 

Their self produced debut is filled with two extended pieces record live, The Impossible show the audience at this live gig and you the listener, that there can be surprises around ever corner and ever note.

"Ignition" drives around on the heavy interaction between Irving and Green. The exchange of phrasing and complements is swift and fierce. It's a hard tone but beautifully placed along side the rhythmic lines that O'Brien gently adds just underneath the chaos.

"The Unanswered Question" sees O'Brien rising in the mix with Irving acting as the counter foil. The piece is calculating and intense. It requires a delicate patience as each chord and notes starts to fall into place and then midway through is completely broken apart by O'Brien and Irving. A battle that is engrossing and lovely all at once. This rotates and slowly works its way to calm, relaxed conclusion to the evening.

A very intriguing debut from The Impossible. While this live evening was long on song. It was short of the amount of tracks. But it does give us the potential of what this trio can do once in the studio. Definitely an album worth your money and band to look out for going forward.

Best Albums Of 2013

JazzWrap looks back at a phenomenal 2013.

Another exciting year. We have seen the growth of recent talent into what will be significant voices of the future. And the continue leadership of the elders. We remember those who have shaped the scene and left us way too soon but what they've taught us lives on through us.

Below are some of the albums that have had a significant effect on me over the last year. In no real order except the first two because they would not stop playing on my stereo, ipod and inside my head.

I hope you get a chance to hear some of this amazing music over the next few months. And we all hope the music just keeps getting better and braver over the next year. Enjoy.

Album Of The Year: Sunna Gunnlaugs: Distilled

Mary Halvorson: Ilusionary Sea
Jakob Bro: December Song
Mostly Other People Do The Killing: Slippery Rock!
Soren Gemmer: At First
Jason Moran/Charles Lloyd: Hagars Song
Cakewalk: Transfixed
Nicole Mitchell: Aquarius
Mikrokolektyw: Absent Minded
Nick Hempton: Odd Man Out
Wadada Leo Smith/Angelica Sanchez: Twine Forest
Kris Davis: Capricorn Climber
Fred Hersch/Benoit Delbecq: Funhouse
Zero Centigrade: Selce
Sava Marinkovic: Nowhere Near
Soweto Kinch: Legend Of Mike Smith
Luis Lopes: Live In Madison
Susana Santos Silva/Torbjorn Zetterberg: Almost Tomorrow
Soren Dahl Jeppesen: Pipe Dreams
Christian McBride: Out Here

Wadada Leo Smith: Occupy The World/Twine Forest

Wadada Leo Smith (trumpet)
Angelica Sanchez (piano)
Twine Forest (Clean Feed; 2013)

Wadada Leo Smith (trumpet)
Tumo Orchestra
Occupy The World (Tum Records; 2013)

Intimacy and intricacy are the best ways to describe two recent collaborations from Wadada Leo Smith this year. The first, with Tumo Orchestra and then in a duo session with pianist Anglecia Sanchez.

Occupy The World is another epic orchestral work with lots of improvisation and intense mood setting movements. Inspired by the global Occupy movement from the past few years, this session is not as enveloping as last years Ten Freedom Summers but it is just as broad in scope.

"Queen Hatshepsut" inspired by the Egyptian queen of the same name, is a piece flows up and down with rough chords from both Smith, the string section and Kantonen's fierce and sublime piano performance. The title track has various stages of deep reflection, as in the middle sections filled with atmospherics and free float trumpet lines.

In a similar inspirational voyage, Smith explores more intimacy with Angelica Sanchez on Twine Forest. The two have worked together for years, Sanchez is part of Smith's Golden Quartet and Organic group. Surprising that this is their first outing as a duo. Either way, it's bright, personal and highly captivating.

"Retinal Sand" sees Sanchez experimenting with the insides of the piano strings and Smith swirling with haunting accuracy. In addition to explosive outburst that blend seamlessly with the rolling and very punctuated notes from Sanchez. "In The Falls Of" while being improvised shapes itself into a lovely almost romantic ballad. The notes are soft with a melody and sparseness that stretches the piece and the imagination making for a devotional experience.

Two excellent sessions featuring similar deep, inspiring thoughts but with very clear distinction and execution. Wadada Leo Smith makes clear that with Occupy The World and Twine Forest, he is one of the most creative and prolific composers among his elder statesman colleagues on the scene today.

Mary Halvorson: Illusionary Sea

Mary Halvorson (guitar)
Illusionary Sea (Firehouse 12 Records; 2013)
Jonathan Finlayson (trumpet)
Ches Smith (drums)
John Hebert (bass)
Jon Irabagon (alto sax)
Ingrid Laubrock (tenor sax)
Jacob Garchik (trombone)

With Illusionary Sea, Mary Halvorson has taken another leap forward in both her compositions and leadership. This expansive septet rich combines the versatile structure of the New York scene to date. Halvorson's jazz and rock aesthetics blend seamlessly into the tradition and always exploding free forms of her bandmates--with wondrous results.

At times the combination raised eerie images of the Count Basie's Band led by Sonny Sharrock. Halvorson gives her friends/band mates all the freedom they need to mold her compositions. This is present on the fun and vivid "Four Pages Of Robots." A rousing mixture of jagged tempos, scattered percussion and later, blues elements. These are juxtaposed against Halvorson's investigative chords that splice there way into the piece when you least expect it. Superb.

While complex themes are always a trademark of Halvorson's work, "Nairam" is something different in the Halvorson cannon. It's contains all the usual twists and turns in the structure. But this piece is more lyrical and compassionate. It's a composition that could easily have words applied to it and still remain emotionally resonant. Garchik and Finlayson raise above on this number but Halvorson's direction and steady chords are what draw you to the undercurrent of the song. A highly effective piece.

There's so much within Illusionary Sea to explore that we could write about every track. But its really important for you the listener to absorb this on your own. It's one of the best Mary Halvorson records to date. That includes her work with her own bands as well as with other various groups. With Illusionary Sea, Mary Halvorson has shown another enthusiastic step beyond the critical praise (she richly deserved) into one of the most important leaders and musicians in the current working scene today. Highly Recommended. And one of JazzWrap's albums of the year.

Mostly Other People Do The Killing: Red Hot

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

David Taylor (trombone, bass)
Rob Stabinsky (piano)
Brandon Seabrook (banjo, electronics)

Nice way to begin and end the year--with new albums by MOPDTK. At the beginning of the year I was talking about their 80s influenced Slippery Rock! This time around, they will frustrate their detractors even further with Red Hot--a bizarre and wonderful experimentation with New Orleans and Kansas City style jazz. Sound is traditional. The vision is way beyond.

The quartet is expanded to a sextet which provides a lot more opportunities for creativity and extended solo work. "Zelienople," is a raucous 30s anthem filled with some aggressive performances by Shea, Evans and the horn section. This is juxtaposed by the fun filled lines from Seabrook on banjo Stabinsky rollicking piano. Great stuff.

Melding the avant garde into this kind of venture seem dangerous. But it works extremely well on "Red Hot" and "King Of Prussia." Both vicious number for different reasons. "Red Hot" features a bluesy vamp melody wrapped by electronic one tone static. A difficult an strange occurrence at first but then you realize the inventiveness. "King Of Prussia" is a ballad filled everything lovely and distracting. Irabagon's playing is bold and very enveloping.

Remember that drunken new years eve party. Actually maybe you don't. Well "Orange Is The New Town" probably was playing in morning hours during your waking dream state. Beautifully executed with some slow emotional notes by Stabinsky and closing with a large dose of echoing chaos.

Everything lets loose on the finale "Bird In Hand." A rapturous number that will have thinking of a joyous night at the Cotton Club. The entire ensemble features throughout. It's fun, uplifting and a great way to close out a very adventurous record.

With Red Hot, MOPDTK have done another twisted and victorious job with building on tradition while making you rethink it as well. Excellent way to close out the year.

Luis Lopes: Live In Madison / Noise Solo

Luis Lopes (guitar)                                         Luis Lopes (guitar)
Live in Madison (Ayler Records; 2013)        Noise Solo (lpz Records; 2013)
Stefan Gonzalez (drums)
Aaron Gonzalez (bass)
Rodrigo Amado (sax)

This year we get treated with two distinct and very inspiring documents from guitarist, Luis Lopes.

Live in Madison features material from Lopes' Humanization Quartet and their two studio albums (Electricity and Humanization 4tet). The live dates as usual brings out more from an already improvisational group of musicians. But this time you can really feel the urgency in the music. In addition the attention to direct and fun in which the musicians would exude throughout the night.

One of the tracks from the original studio albums, "Big Love" has raw and fierce quality in this live setting. Amado and S. Gonzalez riff and explode with notes flying all over the place. Drawing counter to the subdue and quietly quick chords both Lopes and A. Gonzalez are illuminating in the background. While all improvised, they come together in a beautiful crash sound that steadies itself nicely in the closing minutes.

"Dehumanization Blues" has become the bedrock piece of their live performances. And here at the Madison show it's no different. Amado's long staccato notes in the beginning announce the forcefulness of the piece. This plays out well with each demonstration on grand scale how enormous this piece can get. I imagine this could almost be a twenty minute piece on its own. With varying improvised moment of its own.

Look for a new construction of sound, Luis Lopes tends to deliver every time. The intensity of the mid-section of "Dehumanization Blues" is a perfect jumping off point for Luis Lopes second release this year a completely solo project, Noise Solo.

Noise Solo is an experiment in the directions and deconstructions of sound, genre and perception. The vinyl only release is intriguing at its heart. And reflective upon conclusion. While based on the idea of noise, the album keeps a serene calm throughout the evening.

The opening movement is like a broken smoke detector being thrown down a well. There's static. There's chord changes. There's passages that are portraits in rock extreme and finally there's the element of adventure. In a similar notation that you have no idea what will come next, Luis Lopes delivers the unconventional solo album filled with found sounds and passage in progress.

But in the end--Noise Solo is something for the listener to determine on their own. It's an idea but also a free expression which will have a different effect on each listener. Not for the faint and heart. But rewarding for those who take the ride.

With Live In Madison and Noise Solo, Luis Lopes has demonstrated two aspects of his arsenal that I've always enjoyed. The sense of creative musical thought and excellent collaboration. Two exciting new records well worth your investment. Get out there and pick them up.

Cakewalk: Transfixed

Cakewalk (trio)
Transfixed (Hubro Music; 2013)
Oystein Skar (keyboards)
Stephan Meidell (guitars; bass)
Ivar Loe Bjornstad (drums)

Precision guitar drones, pulsating electronics and drums make Norwegian trio, Cakewalk's newest release, Transfixed the perfect soundtrack for your subconscious. While their music may bring comparisons or reference points (see my discussion of their first album Wired), Cakewalk are really bringing their sound into their own. And their vision is clear. A simply deconstruction of preexisting thoughts on genre.

"Ghost" and "Dive" are studies in the pushing and pull of sound. The effectiveness of the melodic tones on both tracks draws the listener deeper into the notes. The crashing drums of "Ghost" and slowly stretched out keyboards on "Dive" emotionally pull you in very dark directions. Beautiful and effective.

"Transfixed" is really driven by Meidell's long looping basslines and Bjornstad's heavy but slow pounding on the kits. The electronics are layered in the background and provide atmospherics but the bass really is the haunting force of this piece. "Transfixed slow builds with Meidell adding the screeching guitar chords towards the closing.

The majority of the work on Transfixed is improvised. But you would never know but how well the notes come together so smoothly. And that's when you know you've heard a work of beauty. When the origin is never discernible.

Cakewalk are a growing, working trio that should emerge as one of the most important over the next few years. Transfixed is the perfect document of that philosophy. Highly Recommended.

Jakob Bro: December Song

Jakob Bro (guitar)
December Song (Loveland; 2013)
Lee Konitz (sax)
Craig Taborn (piano)
Bill Frisell (guitar)
Thomas Morgan (bass)

With December Song, Jakob Bro concludes a wonderful trilogy that started in 2008 with Balladerring and then Time in 2011. A beautiful and melodic tribute to one his mentors, the late Paul Motain, December Song is another shinning document in the growth of an very subtle yet expressive voice, Bro has become over the last decade.

"Giant" flows heavy and effectively on the notes of Konitz and Bro. But the addition of Taborn adds a complexity that give the atmospherics of Bro's playing more dynamics and experimentation. "Zygaena" and "Tree House" are similar to compositions from Balladerring and Time yet still show the growing aspects of Bro's writing after all these years. Both consist of lush, gentle tones that highlight the weaving patterns of Bro's guitar and Americana themes laid out by Frisell. But as always, Bro turns both pieces into a kind of journey that is rich and imaginable.

"Risskov" and "Vinterhymne" have folkish qualities that both romantic and dream-like. The compositions are like lullabies. "Risskov" is highlighted by Konitz's bold horn and Bro's subtle yet captivating notes. Quiet and short notes that linger with each echoing tone. "Vinterhymne" is more a drifting piece with images that fade that softly in the distant sunset. A wonderful closing number and longing gesture to one of his mentors.

December Song is again another statement of powerful creativity from a composer and performer who seems to be prime, prolific form at the moment. I try every chance I get to tell as many people about Jakob Bro. I'm hoping that an album such as December Song can do it all without me screaming to the hilltops. It's that beautiful and that good. One of my favourite albums of the year. And I already have a small list of them (Jason Moran/Charles Lloyd, MOPDTK, Sunna Gunnlaugs, Soren Gemmer and Soren Dahl Jeppesen to make the short list). But Jakob Bro always seems to make that list. Highly, Highly Recommended!

Francois Houle & Havard Wiik: Aves

Francois Houle (clarinet)
Havard Wiik (piano)
Aves (Songlines Recordings; 2013)

Another exciting duo session from Francois Houle. This time he collides with versatile stylings of pianist, Havard Wiik. Together they emerge with the sublime, Aves. This is well crafted, well improvised session that melds classical and free jazz into a harmonious celebration.

"Nomenclatural" starts off quietly with a heavy melody that soon builds into a series of rolling counterpoints. Wiik and Houle seem to challenge each other at very turn with improvised notes that both offset and combine for a lovely high energy experience.

"Ged's Shadow" and "Letter for Gregory L" focus more on the simply sparse notes laid out by Wiik. Very emotional and dense, which allows the listener to sink deeply into their own darkness. Houle can be hear deep in the background (except towards the latter passages of Gregory) which makes both piece even more eerie and effective.

"Woodhoopoe" sees Houle playing various notes in a pattern which felt like a mixture of both classical, free form and African. There was beat that develops but more effectively "Woodhoopoe" doesn't feel like Houle on clarinet. It was reminiscent of recent work by Colin Stetson and his rotating breathing effects. A great solo piece.

I am a huge fan of Francois Houle and get excited by each release. With Aves, It feels as though his met another kinder counterpart along the lines of fellow collaborator, Benoit Delbecq that he can bounce ideas off. And the results is another fantastic and invigorating session that is well worth every one's time to seek out. Highly Recommended.

Fred Hersch & Julian Lage: Free Flying

Fred Hersch (piano)
Julian Lage (guitar)
Free Flying (Palmeto; 2013)

For me, this wonderful session between the living legend, Fred Hersch and the future legend, Julian Lage brought memories of the brilliant recordings by Bill Evans and Jim Hall some 50 years ago.

Free Flying is a sensational outing that is vintage fun and sweetly romantic. A duo session similar in dynamics to Hersch's recent collaboration with trumpeter, Ralph Alessi.

"Song Without Words #4" and "Down Home" show the playfulness and agility of the two musicians as they both move classical and early jazz themes. Lage's playing definitely evokes Frisell on "Down Home," but with a younger spirit. And the two bounce notes off each other terrifically in the middle sections of "Down Home."

"Free Flying" originally from Hersch's Pocket Orchestra Live at the Jazz Standard release, revolved around a Brazilian theme and led improvised vocals from Jo Lawry. Here as a duo the piece (dedicated the great Egberto Gismonti) takes on more intimacy and resonance. Hersch and Lage are the improvisers here and it actually is much easier to follow and dig deeper into the notes. The solitude of grandeur displayed on "Gravity's Pull" is all Lage. Rolling melodic keys from Hersch are juxtaposed against gentle and elegant chords laid out by Lage.

Free Flying is an excellent duo session that evokes the past, present and future with lush and vivid artistry.