Asa Trio: Craning

Asa Trio
Craning (Sunny Sky; 2014)
Agnar Már Magnússon (organ)
Andrés Thor (guitar)
Scott McLemore (drums)

A more mature Asa Trio emerged last year with the release of Craning. A wonderful and well developed fourth album (first with full original material) from the young Icelandic trio. 

Craning melds and magnifies each members strengths that many have seen in their solo projects. This a beautiful record from the romantic folkish opener "Something To Make You Change Your Mind," which is soft and crowd pleasing. This extends to the gospel-tinged "Green Door" in which Magnusson's organ lays a steady pallate of emotions that envelops the listener. 

The great thing that has always excited me about Asa Trio is that while this is might sometimes be referred to as an organ trio (if you want to describe it that way), they actually are a much more like a one conhesive unit than that. Thor and McLemore both shine throughout individually on latter portion of session which turn quite reviting and funky ("On Pluto" and "What Was I Thinking").

Craning is a superb debut of original material from what is now a veteran trio. I have written their praises for a few years now. And this is just another sign of their continued growth both individually and as group. Highly recommend. And should have been part of my best of 2014 if I every put that list together like I promised. 

Scott McLemore: Remote Location

Scott McLemore (drums)

Remote Location (Sunny Sky; 2012)

Óskar Guðjónsson (sax) 

Andrés Thor (guitar)

Sunna Gunnlaugs (piano)

Róbert Þórhallsson (bass)

I've said before that Scott McLemore has this great versatility. It's akin to Paul Motian or Billy Higgins. He moves effortlessly between gentle and fierce that the listener is never really surprised. Also, since his last album as leader, Found Music, his writing as grown immensely. Through his projects with ASA Trio and Sunna Gunnluags, McLemore has crafted a compositional skill that is both relaxed and very studied. A reflective writer that allows his group room to breathe and expand. All this is very clear on his second album out in front, Remote Location.

And mature is definitely how this outing sounds. "Remote Location" while thematically it might reference a distant place, it also gives you sense of place within yourself. An introspective feeling but with outward emotion. Porhallsson and Gunnlaugs share some beautiful exchanges within McLemore's timely construction.

"Citizen Sitting Zen" is blissful with its chirping bird sounds just underneath the Porhallsson's bass and Thor's infinite guitar. A piece that gently moves forward and back between Guojonsson's soothing melody and Gunnlaugs precision tones on piano.

McLemore continually shows his skill as a leader, allowing the quintet to freely revolve and craft the tunes. "Charlottesville" and "Woods At Night" are possibly the most contemporary I've heard McLemore from the writing perspective. They're both laid back with an almost West Coast style that is enjoyable and pleasing. McLemore's kit reverberates with grace and beauty.  More prominent on "Woods At Night," but both having a very personal feel that you will immediately connect with at first spin.

"Movement For Motian" is a loving dedication to the late drummer. The timing and emotion that slide through Thor's guitar and Guojonsson's sax add distinct colour and fragility. McLemore's touch is understated, just like the legendary drummer. A perfect and solemn tribute.

Remote Location is wonderful step forward for Scott McLemore as a composer and leader. His style, patience and performance is quietly gaining steam. You would be best to jump on board this train before it gets too crowded. Remote Location just might creep up on you and become one of your favourite records this year. It has for me...Highly Recommended.

Andres Thor: Monokrom

Andres Thor (guitar)

Monokrom (Dimma; 2012)

Scott McLemore (drums)

Porgrimur Jonsson (bass)

Agnar Magnusson (piano)

Taking time off from their more electric outings as ASA Trio, the band members have returned to working on solo material. The first to release new material this year is guitarist, Andres Thor. His third solo album, Monokrom, is a fusion of traditional melodies and modern harmonics. Joining him are his fellow ASA Trio mates and Porgrimur Jonsson on drums. This fully formed quartet brings out the best in each musician over the course of almost 60 minutes.

Thor's sound continues to mature and move from strength to strength but always with calm and a playful attitude, Thor demonstrates an excellence balance between Wes Montgomery tradition and Bill Frisell or John Abercrombie modern folk. "Monokrom" opens with a sense of fruitfulness and pleasure. Soft, romantic tones emitting from Thor's guitar and accompanied with sweet agility by Magnusson. With "Pink Wilco," Thor has written a piece that allows Jonsson and Magnusson to slide in and out seamlessly with his blues like melody.

Thor displays a great deal of passion in his performances throughout Monokrom. That Frisell vibe I spoke of early is noticeable on the folkish ballad "Heima." It has a wonderful and joyous feeling to it that gives a real sense of a travelogue. Injecting a little bit of funk into the session with "1922," Thor and rest of the band begin to flex their muscle. A forceful rhythm from McLemore and penetrating notes by both Jonsson and Magnusson make "1922" a rise and infectious number that is enhanced by the echo of Thor's lap guitar.

"Sjavargrund" is a midtempo ballad with a tinge of Brazilian flavor. Thor's playing feels very comfortable in every setting. McLemore and Jonsson provide smooth lush colors that open the sound for Magnusson's keyboards. "Munchen" is a sharp and intense closing number with the group in full swing. Each member has a shining moment on this track. Magnusson is back on piano with a rich clarity. Jonsson's bass is vibrant and McLemore rips lines with ease. All the while Thor's guitar gently cuts a path for the musicians to follow.

Monokrom is strong work from a group that knows each other inside and out. Here Andres Thor has written the right material that allows not only his musicianship to shine but also illustrates his sense of adventure and ability to move freely in different forms. This is one of those superb outings that every jazz fan would be silly to miss. 

Sunna Gunnlaugs: Long Pair Bond

Sunna Gunnlaugs (piano)

Long Pair Bond  (self produced; 2011)

Scott McLemore (drums)

Thorgrimur Jonsson (bass)

I discovered Sunna Gunnlaugs only earlier this year, but since then I have consumed alot of her music and have been truly captivated. Her style is intimate and her use of space is exciting and has you hanging on every note.

Sunna Gunnlaugs is an independent artist who has created her own path with seven unbelievable albums that go from strength to strength. I loved her last album The Dream (in fact I raved about it). But I think her new album, Long Pair Bond is phenomenal! An even more intimate and introspective album than its predecessor, Gunnlaugs continues to elevate as a composer and a musician.

The trio setting demands more of the listener. It's an opportunity to absorb the emotion of the session and feel the movement of each instrument. "Long Pair Bond" sets sail with a lovely tone. Gunnlaug's playing carries you along slowly and gently down a rugged stream. Jonsson's bass fills the room but never overpowers the notes. McLemore adds poignant timing that gives a "Long Pair Bond" an additional punch towards its conclusion. On "Thema" Gunnlaugs and Jonsson's mixture of Latin and classical merged into a solemn progression that somehow is still quietly uplifting.

"Crab Cannon," a piece originally performed by the same trio a year ago, sounds more invigorating here in the studio. The production is obviously more crisp than its live sister version but Gunnlaugs obviously performed this piece on a number of occasions so this version delivers more impact through experience. McLemore's drummer jumps out with freedom and spirit that should really get any listener excited. "Fyrir Byrnhildi", a richly driven piece buoyed by Jonsson and Gunnlaugs, is warm and inviting. A delicately crafted number with almost gospel touches that has quietly become my personal favourite on Long Pair Bond.

"Vicious World" closes the album beautifully, with the focus squarely on Gunnlaugs. McLemore and Jonsson add light swatches of colour to the outside but momentum lays within the vibrant and inspirational performance of Gunnlaugs. This is an intimate piece that would probably bring the house down in a large recital hall.

In the independent spirit of the 21st Century, Sunna Gunnlaugs has taken the exciting and adventurous journey into the fan-supported release world (a grass-roots version of venture capital). Utilizing the organization of Kickstarter we can all support the physical production of Long Pair Bond with a small donation to the creation of the album. There are a number of different levels of support that we can contribute. Each with the right and appropriate reward for you.

This is a great opportunity for artists and fans to be a part of something special. If you are a fan of Sunna. A fan of jazz. A fan of exemplary jazz. Then this is an opportunity for us all to put our collective spirit and force together for the good of great music.

Join Sunna Gunnlaugs and enjoy a truly phenomenal album--Long Pair Bond.

Scott McLemore: Found Music

Scott McLemore (drums)
Found Music (Fresh Sound/New Talent; 2006)
Tony Malaby (sax)
Ben Street (bass)
Ben Monder (guitar)

A fresh discovery for me early this year was the group, ASA Trio from Iceland. I am still in love with their latest release, Plays The Music of Thelonious Monk and I'm already letting everyone know it will be on our top albums of the year list. But while the trio have released one of the standout albums of 2011, I decided to look into one of the members that really struck me--drummer, Scott McLemore.

McLemore, now living in Reykjavik, spent 8 years in Brooklyn developing his skill. He has an impressive CV which includes recording/performing with an intensive list of musicians including, Angelica Sanchez, David Berkman, Tim Berne and his wife, pianist, Sunna Gunnlaugs to name just a few. As a solo artist he has only recorded one album, but it is an amazing record that should not be overlooked. That album is Found Music (Fresh Sound/New Talent).

What is so fascinating about Found Music is McLemore's compositions and leadership. This album was recorded prior to his joining up with ASA Trio but it shows a musician who had a host of ideas and circled himself with set of musicians who could execute it superbly. The album is subtle but with pockets of fierce individual performances. "If You Wish" and "Ambiguity" are both relaxed moments where Malaby and McLemore shine with a modern contemporary resonance.

The diversity of McLemore's playing as it does with ASA Trio reminds me of agility of the late Billy Higgins and Paul Motian. And as with Higgins, McLemore gives his bandmates the space to breath and create a sound that lets the listener sit back imagine and enjoy. Ben Street delivers the long opening recitation for "Safe From The World" that only underscores what an important bass player he continues to be. Here, McLemore settles in the background allowing the rest of the quartet to step up and transform the piece with great beauty.

"At No Cost To You" is McLemore's salvo, illustrating that this young talent means business behind the kit as well as a being the composer. Each member has a nice dueling session with the leader on this track and its fun to absorb and crank louder and louder with repeated listens. The group come together with a raucous unity towards the end that is just simply awesome.

"Worldly Possession" is probably the most eclectic piece on Found Music. It's also the longest. An intense, rolling and momentum building set of chords by Monder help make the piece a bit of Marc Ribot-esque exploration. Street bends the notes while McLemore adds a thumbing and seductive rhythm just underneath.

Found Music is one of those little undiscovered treasures that you're always looking for. But it is also a document of a musician who would later expand his skill in partnership with one of the best up and coming trios of the last few years. This is the "secret origins" of a talented new artist and composer on the scene. Here's to seeing a new Scott McLemore record soon. Found Music is still readily available so please search it out. A must listen for sure.

Arni Karlsson: Boundaries

Arni Karlsson Trio

Boundaries (Dimma Music; 2009)

Arni Karlsson (piano)

Gunnar Hrafnsson (bass)

Matthias Hemstock (drums)

Iceland is quickly becoming one of my favourite jazz spots in the last few months. With exciting young thinkers like Asa Trio and Sunna Gunnlaugs, the scene is on the cusp of something great.


I reached back into my decks and I found an album I hadn't spent much time with in quite a few months--the lovely Arni Karlsson and one of his rare releases, Boundaries (Dimma Music)

After spending most of his younger years training as a classical pianist, Reykjavik based Arni Karlsson then began to balance both his studies and his love for jazz. But he has also experimented with deep house grooves as well writing classical compositions. The interesting thing is how Karlsson has been able to separate his alter-egos. By listening to each varying identity you wouldn't know he was the mastermind behind any of them. That's real talent.

Karlsson has so far only recorded two jazz influenced sessions but Boundaries has always struck me as the most satisfying as it's an intimate date in a trio setting. This is an album that really took a long time to seep into my consciousness. Once it did the melodies couldn't escape me for weeks. There is a gentle tone to the proceeding that is bettered by the superb performances of each member.

The title track "Boundaries" has an element of Keith Jarrett but it is still intimate and reflective enough to present a few twists and changes that give the listener a sense of the creativity and direction Karlsson wants to take you. The Latin rhythm of "Endless Journey" builds beautifully with rolling patterns that move the hips back and forth. It reminds me of lighter material from the Oscar Peterson Trio. Hrafnsson and Hemstock lay a firm but understated groove just below Karlsson's chord lines.

"Confuciousness" demonstrates Karlsson moving in an improvised direction that provides a number of stop/start moments that may take the listener by surprise, but just hang with it. As the piece unfolds and the melody moves in and out, you begin to find your own home and rhythm within the abstract structure. Its exciting, bold, bluesy and improvisation, all of which I love rolled into one piece. "Unborn" is a solemn number that evokes American gospel and a search for some order within confusion. "Unborn" contains a passion that should connect with every listener upon first listen. A wonderful way to close out the session.

Arni Karlsson released Boundaries two years ago but it still resonates for me. It's an album I've really wanted to talk about but only until a few months ago did I start listening to again on a regular basis. If this were from 2011 it would definitely be an album of the year listen. Exquisite lyrical structure, passionate performances and a real sense of adventure when there needs to be. This is what makes Boundaries an album worth seeking out. Highly Recommended.

Alon Nechushtan

Alon Nechushtan (piano)

Words Beyond (Buckyball Records)

Dan Weiss (drums)

Francois Moutin (bass)

I became aware of Alon Nechushtan from his work with what I would call "avant garde klezmer" outfit Talat and was extremely excited about what Nechushtan would do as leader. He is a talent and in-demand musician who has worked all over the globe with festivals and musicians as diverse as Roy Campbell, Chris Speed, Marc Dresser among others.

The work he has done on his debut, Words Beyond (Buckyball Records) is simple. He has deliver an album of real invention, originality and clarity that should catch the ear of most jazz listeners as this record gets out to more people. With the obvious influences circling this session, Monk, Jarrett, Bley, etc. I tend to notice Uri Caine more in the flexibility of the compositions and Nechushtan's own performance on Words Beyond.

There is a playful nature between the trio on the first two tracks "Muppet Shock" and its successor, "Different Kind Of Morning". Both display an elegant, joyful and quick witted Nechushtan creating some intense patterns as the excellent Weiss and Moutin follow with a deep one, two's of improvised moments. Lovely interplay especially throughout "Different Kind Of Morning." On my current favourite track on the album "Dr. Masterplan", Nechushtan illustrates some complex arrangements but his play is so high-paced that you are immediately sucked into the rhythm and a journey that is buoyant and accessible.

The complexity and cleverness of Alon Nechushtan's writing does remind me of the earlier straight ahead jazz albums of Uri Caine (or his Moloch record for the Tzadik label). They can be complex in composition but yet still mesmerize even the newest of jazz fans. I feel this way on "Spring Soul Song" and "Heartbreakthrough". The first having more of an upbeat and sometimes staccato moments but overall moves the listener with a sense of adventure. The latter is a more a traditional ballad in which Weiss and Moutin both are raised to forefront with superb performances. Weiss adds a gentle wash to discussion while Nechushtan and Moutin both give real emotional impact with their interchanges.

Words Beyond is a stellar debut from a composer and musician who is reaching new heights with every recording session and performance. If you haven't listened to Alon Nechushtan already, I highly suggest you start now. Highly Recommended.

Be Lee...Alon Nechushtan from JMJProductions on Vimeo.

Sunna Gunnlaugs

Sunna Gunnlaugs

The Dream (Sunny Sky Records)
Sunna Gunnlaugs (piano)

• Loren Stillman (sax)
• Eivind Opsvik (bass)
• Scott McLemore (drums)
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• So if you've been reading JazzWrap for awhile you will know that I don't throw around comparisons to Esbjorn Svesnsson Trio at all. I've always felt that E.S.T. were a cut above every other modern trio of the last decade. Esbjorn Svensson was a magnificent pianist and is deeply missed. I recently started listening to Icelandic pianist Sunna Gunnlaugs and I have been convinced that she could be one of the few pianists that might ascend to Svensson's heights.
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• While influences of Keith Jarrett and Bill Evans are well noted, there is an Eastern European element to writing and performance that add another layer of beauty and romanticism that will definitely connect with listeners. In the same manner as the earlier Esbjorn Svensson recordings.
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• Gunnlaugs had studied and performed in New York in the late '90s before returning to Iceland. The experiences of growing up near/with Scandinavian influences as well as being apart of a multi-dimensional scene in New York is definitely captured in Gunnlaugs recordings. On her most recent (sixth in all) album, The Dream (Sunny Sky Records), Sunna Gunnlaugs makes the perfect connection of intimate lyricism with buoyant melodies into exciting and sophisticated listening experience.
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• "Holding Ground" has a wonderful hard bop sensibility to it. Her movement on the keys has shown a definite New York influence. For me it felt like being at Smoke listening to Harold Mabern or Mulgrew Miller (something I do quite often actually). Gunnlaugs playing moves between delicate compositional structures and free form improvisations (as shown on the five interludes "Spin"). That European influence can felt on "Vitjun" in which Stillman and Gunnlaugs both deliver beautiful harmonies that give the piece a lush chamber music quality but somehow never feeling distant.
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• "Tunnel Vision" has become one of my favourite tracks on the album. Eivind Opsvik and Scott McLemore (also a member of ASA Trio) open with a very exquisitely played improvisation before Gunnlaugs and Stillman join in to create a bold well enclosed piece with each member stretching the parameters. "Korn" is yet another astounding combination for me that conjures both Icelandic, European and American themes. Gunnlaugs playing dominates this closing number as expected but it also features Opsvik accompanying her with terrific shapes and patterns on the bass.
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• In The Dream, Sunna Gunnlaugs has created a work that is reminiscent of early E.S.T. albums. It is the sum of influences but she uniquely stretches those influences into something wholly different. Gunnlaugs has moved from strength to strength with The Dream and it is her best record to date. If you are looking for something rewarding, exciting and combining some of the best playing you might hear all year on piano, The Dream is a great document to start with. Absolutely Brilliant!

(JazzWrap Note: Sunna Gunnlaugs is currently offering a free download EP featuring a live version of the title track "The Dream" on her site. It's a great introduction to her music. And they when you done, you should buy the whole album.)