Outhouse: Straw, Sticks + Bricks

Outhouse (quartet)

Straws, Sticks + Bricks (Loop/Babel Music; 2011)

Robin Fincker (sax, clarinet)

Tom Challenger (sax)

Johnny Brierley (bass)

Dave Smith (drums)

Hilmar Jensson (guitar)

On their third outing, Outhouse seem to be completely focused and created a solid and highly auspicious album with Straw, Sticks + Bricks. It's big, loud, scratchy and sometimes brooding. But at it's center, Outhouse have made another statement as to why they are becoming one of the most exciting British bands on the scene.

At times you might think Outhouse were actually part of the Chicago scene. The set of horns, bass and drums provides a unique, bold and cacophonous quality that is sometimes associated with the aforementioned scene. But once you get into the heart of pieces like the opener, "Kitchen In The Middle" you realize this quartet have different intent altogether. I got the feeling I should be reading a creepy version of Jack and the Beanstalk. The succinct one beat of the drum kit and sax helped me tap out "fe fi fo fom." Pretty funny for me. You may not notice this. The addition of Hilmar Jensson on guitar pulls out a grit that was always there on previous Outhouse's records but is more crystallized on Straws, Sticks + Bricks.

"Fool" builds slowly and compounds a number of tones and rhythms. Finker and Challenger worked brilliantly off each other while Brierley and Smith add perfect time and pace. Jensson's guitar cuts across the patterns at just the acute time. "Fool" works it way to a quiet conclusion in its last two minutes. Steady and unwavering. A number of disjointed and aggressive emotions balance neatly like Kurt Rosenwinkel mixing it up with John Zorn and Ken Vandermark. Great work.

"Alignment," more of a ballad, opens with a gentle but steady beat from Smith before the rest of the group join in to provide a calm hypnotic aesthetic. The vibe was reminiscent of Aram Shelton's recent work. This is exploratory and emotional with deep revolving effects. "Long Notes" led by Smith's rolling patterns, some soft plucking from Brierley and some intersecting notes from the rest of the group create an intense, expressionist closing number but still manages to leave the listener hypnotized by Outhouse's ability to craft some really evocative notes.

Unlike a number of their compatriots, Outhouse don't tend to go for the thundering beat. They are an investigative quartet that seems to be searching for next process in the rhythm. This is a journey we at JazzWrap are always willing to go on. The British scene is definitely rising. And with Straw, Sticks + Bricks, Outhouse are continuing to stay right up there with Acoustic Ladyland/Polar Bear, Neil Cowley, et al. Brilliant stuff.

King Capisce: A New UK Avant Garde

King Capisce (group; formed 2008)
King Capisce (KC Records)

Tim Feben (guitar)
Richard Harrison (sax)
Alex Baker (sax)
Roshan Lal (bass)
Tom Ashfield (drums)

The self titled debut from this Sheffield quintet King Capisce a refreshing reminder that the UK jazz scene is has many influences and allot to offer. Unsigned King Capisce have been on the UK touring circuit for only short time but have built up a decent following and their debut shows great strength in depth and vision.

This is a harder edge mixture of prog, psychedelia and free jazz. While current favourites, Polar Bear, Acoustic Ladyland and Troyka may come to mind, King Capisce are definitely making a case and carving out a space that might well be all their own in the future.

The album begins with the frightening beauty of "Cheer Up Cyclops" which start with Roshan Lal's funky bass line and then blast head first into an exchange of potent ideas both gentle and frenetic. "Cheer Up Cyclops" almost sums up the album in seven minutes (but wait there's more)--a bright piece of psychedelia and free jazz. It got me thinking, what if Ornette Coleman joined King Crimson on stage for one night? (Actually that could still happen.)

The battle of duelling saxophones and the blistering guitar work makes for some heavy listening at times but I think everyone with a sense of rock and jazz will enjoy King Capisce for different reasons. That battle continues on "The Sharp Edge", a mountain of a piece that delivers some complex melodies within changing environment. "The Sharp Edge' moves quickly from gently structure chords to funk patterns to improvised chaos.

"Between Teeth" gives this session a blues-rock injection with some wonderfully shifting work by Tim Feben on guitar. "Between Teeth" builds to high climax as the rest of the quintet join in a Philip Glass-esque arpeggio. "Boundless" closes things out with a mid-tempo delivery but just the right amount delicate aggression to remind the listener why this debut is so impressive.

A solid premiere for the Sheffield quintet that sparkles with ideas and strong musicianship. King Capisce is a band worth watching over the next couple of years. This is definitely the shape of jazz to come and let's hope they become talked about in the circles as the aforementioned UK outfits sooner rather later. Highly Recommended.

Guitar Week: Troyka

This week JazzWrap will take a look at guitarists and guitar driven groups that have or will be making a difference in jazz.

Troyka (group, formed 2007)
Chris Montague (guitars)
Kit Downes (organ)
Joshua Blackmore (drums)

London based, Troyka have been making waves in the British jazz scene for the last three years. There self titled debut does deliver on the hype. This is a trio that is slightly different than many of recent crop in that their songs led by some crazy guitar work from Chris Montague. They also incorporate some lovely, psychedelic and funky organ interplay by Kit Downes (who is also making a name for himself as a solo artists). Joshua Blackmore's gritty and fernetic drumming keeps his fellow bandmates in line as they travel a familiar fusion path but create their own signpost along the way.

Upon first listen, especially the opening two tracks, "Tax Return" and "Clint" you might get the impression Troyka are heavily influenced by King Crimson. This would be very misleading. The trio have shades of prog, jazz and funky flirting throughout this recording. All of it results in bouillabaisse of rhythms that is hard to ignore. While they site Wayne Shorter, Aphex Twin, and Rage Against The Machine as influences, its hard not to notice the dedication to blues/world structures as on "Twelve" or "Noonian Soong" that are reminiscent of Mahavishnu. The aforementioned modern influences are there especially in the swirling organ work of Downes which fills this journey with some interesting aural/audio soundscapes. For fans of the Chicago band Tortoise, Troyka should definitely be an investment for you.

Troyka's closing moments encapsulate the band, with a nice piece of avant-funk entitled "Call" that certainly brings to mind the great Crimson circa Red, but breathes a life of its own with delirious watersheds of interplay between the three members. This is capitalized with the final but short number "Zeitgeist" which is indicative of band and the British jazz scene at the moment.

Troyka have made an album that is interesting on multiple levels and will appeal to jazz and alternative heads alike. It's funky, futuristic and layered with elements of avant garde that won't alienate any group of listeners. This is a brilliant and promising debut. Along with Polar Bear, Acoustic Ladyland, Portico Quartet, Outside and Neil Cowley Trio, the new British free jazz scene might start giving Norway, Finland and Sweden a serious challenge in the creative circles for leading jazz movement of the next few years. Great stuff and highly recommended.

The Thing: Swedish Rampage

The Thing (group; fromed 2000)
Bag It! (Smalltown Superjazz)

White Noise with style and beauty. That's probably the best way to describe it.

The Thing are a power trio from Sweden, who along with Acoustic Ladyland, Supersilent, Atomic and Polar Bear have been pushing the sound barrier of jazz for a decade now. Led by the creative mastermind of saxophonist Mats Gustaffson, Paal Nilssen-Love (drums), & Ingebrigt Haker-Flaten (bass), The Thing is a consistent and reliable source for a challenging good time on every outing.

The Thing's new album (8th in total), Bag It! was produced appropriately by legendary noise maker, Steve Albini (founder of alternative band Big Black) whose production credits include The Pixies, Wedding Present and more. The album features covers of Duke Ellington "Mystery Song" and a rapturous version of Albert Ayler's "Angels" as well as their own "Hot Doug" to name a few.

The Thing do a masterful job of melding the avant garde and punk ethos together with fantastic results. While most European jazz recently has been based on the Miles Davis fusion era, The Thing has used prog-rock (King Crimson, Can, etc.) and jazz (Albert Ayler, Don Cherry, Ornette Coleman, etc.) as their launching pad to explore new ideas that would probably make Miles and Coltrane extremely proud. The Thing isn't for everyone but if you like your music loud, improvised and in your face, then The Thing's Bag It! is the perfect starting point for self destruction (or self evaluation).

Polar Bear: ...to everyone--WAKE UP!

Polar Bear (group)

Mark Lockheart (sax)

Peter Wareham (sax)

Sebastian Rochford (drums)

Tom Herbert (bass)

Leafcutter John (electronics)

If you are looking for the future of jazz, Sweden, Norway and England are places you should be right now. Polar Bear are among a long list of bands from the UK "collective" scene originating with two jazz communities, F-ire and Loop, that are truly reshaping the Jazz to come (that's me taking liberties on Ornette Coleman, sorry).

Polar Bear is the slightly calmer twin of Acoustic Ladyland (featuring two of its founding members), who released my favourtie album of 2009, Living With A Tiger. I originally discovered Polar Bear while waiting for a flight at Gatwick Airport. I was in an airport HMV store and found their first album for just 3 quid. I had read about them in a couple of magazines on my trip but couldn't find anything until I got to the airport. I decided for 3 quid, what the hell. It was the best 3 pounds I had spent on the entire trip and I have been a fan ever since.

Polar Bear may exist in a similar world as Acoustic Ladyland but they are carving out a jazz palate that is still adventurous but stays within the traditional idiom. Led by drummer Seb Rochford, the group is a formidable unit with staggering talent that grows with each record. They have recorded three critically acclaimed albums that are a must for all jazz fans. Polar Bear's first three albums Dim Lit (Babel), Held On The Tips Of Fingers (Babel) and Polar Bear (Tin Angel) all capture a young band that is inventive beyond its years but also one that wants to continue to push the envelope to see what else can be done.

Their 2008 self-titled album lays in some quiet grooves for emotional effect while still keeping their post bop adventurous edge as on as songs like "Sunshine" and "Leafcup". Then, there are great combinations of the avant garde and electronics as heard towards the end of Polar Bear with the song "Sounds Like A Train To Me". A truly original band displaying the creative tendencies you normally would see in an artist like Dave Douglas or Jason Moran, if this isn't Polar Bear's year to finally breakout in the U.S., I will be extremely pissed off.

The London based quintet, release their 4th album, Peepers (Leaf Label) on March 1 and it delivers a clear statement to the rest of the jazz community--wake up and start doing something new!

This is probably my album of the year. Yes I realize we are only two months into a new year but when you make an album like this, everyone needs to step back and take notice. Peepers moves open step ahead of their previous efforts. Peepers has a heavier sound and more descriptive elements as apparent on songs like "Drunken Pharaoh" and "A New Morning Will Come". The always reliable Polar Bear kinetic, experimental energy is still there as evident with "Scream," and "Want To Believe Everything".

With Peepers, Polar Bear have made an album that combines their distinctively British qualities, American influences and European experimentalisim into one cohesive vision that for me is absolutely phenomenal. Of the records you buy this year please, please, please make Peepers one them. HIGHLY RECOMMENDED.

Polar Bear are also offering a FREE download of the titled track, Peepers. You won't be disappointed. And finally, check out their new video for "A New Morning Will Come."

Empirical: The New UK Hard Bop

Empirical (group; 2007)

Empirical are the latest in what is becoming an endless list of very solid groups coming from the U.K. at the moment. This London based quartet are steep in the John Coltrane, Eric Dolphy, Ornette Coleman tradition of eclectic hard bop. Empirical utilize their influences with great skill and technical ease making their two albums, 2007's self titled debut and 2009's sophomore effort, Out'n'In immensely enjoyable.

Out'n'In (Naim Jazz) is a tribute to the legendary saxophonist, Eric Dolphy and his landmark Out To Lunch album. The music is definitely as challenging as Eric Dolphy, but delivers it in an incredible accessible manner that will find even the non-jazz listener stand up and appreciate the band's fast-growing popularity. This is an album that flows effortlessly, beginning with "Out But In" and features two covers of Dolphy tunes while closing out with the lovely "Bowden Out".

Empirical, in addition to Acoustic Ladyland and Polar Bear, may be the three bands to watch in 2010. The UK jazz scene hasn't been this hot in years. Empirical can be one of the leaders of the pack that could very well break out on this side of the Atlantic...I hope. For everyone who wants to check them out, go to their webisite and download the FREE 4 track Empirical Live At Ronnie Scotts Ep. (You might want to download the tracks individually instead of all at once. I had a little trouble. You can listen to it on your iPod or other MP3 player.) And did I mention it's FREE.