Dre Hocevar: Coding Of Evidentiality

Dre Hocevar Trio

Coding of Evidentiality (Clean Feed; 2015)

Dre Hocevar (drums)

Bram De Looze (piano)

Sm Pluta (electronics)

Lester St.Louis (cello)

A sublime and cerebral Clean Feed debut from Slovenian born drummer/composer Dre Hocevar. Coding of Evidentiality travels a steady path of intricate notation that both calming and insightful. 

Hocevar allows his fellow bandmates to stretch and improvise within his compositions. Opening with "Form Of The Future Thought" which focuses in St. Louis and De Looze's swirling, melodic interplay. Hocevar wraps those elements in with a cross section of rhythmic patterns that eventually move the piece to high level cacophony that still remains beautiful and telling.

Experimentation takes hold on "Critical Discourse Analysis" with Pluta's electronic manipulation added by De Looze and subtle shifting notes from Hocevar and St. Louis provide a wonderful balancing acting of modern and traditional themes managed for new outlook that may not have been seen since the latter days of Esbjorn Svensson Trio.

I really loved the closing piece, "Second Portrait Of The Exemplary" with its multiple interchanges between the musicians all intertwined with Hocevar's quick brush/cymbal coordination. It's hauntingly beautiful and raucous till its conclusion.

Coding Of Evidentiality is a record that will make you think and entertain the senses. A shinning element of style that will be one of the best records you'll experience this year. Highly Recommended.

Joana Gama & Luis Fernandes: Quest

Joana Gama (piano)
Luis Fernandes (electronics)
Quest (Shhpuma/Clean Feed; 2014)

There's a passion and beautiful that emanates from this recording that made me feel like I was listening to a mixture of Mitsuko Uchida, Harold Budd and Christian Fennesz. Quest, the stunning debut from Joana Gama and Luis Fernandes is holds elements of experiementalism as well as classical introspection.

The duo present a series of quiet yet evocative soundscapes that are both a backdrop and a window into along a beautiful journey. "Dream" (written by John Cage) is errielly performed to perfection by Gama. The addition of Fernandes atmospherics heading into the middle passages gives the piece a more transcendent feel than even the original piece.

"Twisted Moments" and "Quest" give the listener a different perspective on the duo. Both provide haunting elements of electronics with subtle melodic tones from Gama. "Twisted Moments" with it's killer bee swarm of effects is dazzling and probably shouldn't be listened to outside if you are afraid of the little black and yellow flying creatures.

While "Quest" includes all sorts of found sounds and plucking inside the piano. A creative piece that undulates in various directions all the while keeping very focus on providing a linear emotional experience.

Quest is a solid debut from Gama and Fernandes. Both experimental and traditional with a real sense of adventure and solace that is more than just ambient sounds. I really hope they do another record together very soon. Highly Recommended.

Rodrigo Amado: Wire Quartet

Rodrigo Amado
Wire Quartet (Clean Feed; 2014)
Rodrigo Amado (sax)
Gabriel Ferrandini (drums)
Hernâni Faustino (bass)
Manuel Mota (guitar)

A Rodrigo Amado release is always going to be filled with some excitement. And Wire Quartet is definitely exciting and does not disappoint. A wonderful line up that features members of Red Trio and the increasingly rewarding, Manuel Mota. 

Wire Quartet consist of three very extended pieces. "Abandon Yourself" opens the album with slow building introduction where each member moves gently with well place focused notes. The piece moves into its second structure when Amado and Mota both let loose and Faustino and Ferrandini follow making this section of the piece the most chaotic and beautiful. The tone settles in the latter stages as each musician has their own moment to rise above. Great compositional/leadership work here from Amado allowing the members the freedom to craft the passages within the outlying structure.

Blues-like yet still encompassing sense of moving far beyond, "Surrender" has lots of free movements with Mota's guitar screeching like Branca, Bailey or Thurston Moore rolled into one. Amado's rolling tones and the some atmospheric brush-work from Ferrandini add a nice shine to the track. While on the closing number, "To The Music," Amado really let's loose with some terrific tones and patterns that feel like Ayler or Braxton. Mota's guitars wails alongside Amado but never overpowers the piece.

Wire Quartet is a rock album with jazz undertones. It loud, fierce and abrasive like any other Amado record. Similar to Amado's work with Luis Lopes but here we get the added touches of a fantastic quartet that pours even more muscle to Rodrigo Amado's compositions. Which I didn't think was possible. And the results are excellent and frankly--bloody brilliant stuff!

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.

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.

Mark Dresser: Nourishments

Mark Dresser (bass)
Nourishments (Clean Feed; 2013)
Rudresh Mahanthappa (sax)
Michael Dessen (trombone)
Denman Maroney (hyper-piano)
Michael Sarin (drums)
Tom Rainey (drums)

Mark Dresser is one the few distinctive bassist on the scene that continues to impress with complex arrangements that challenge convention. His latest outing as leader, Nourishments, Dresser demonstrates a solid and bold approach with both his playing and compositions. Allowing the quintet to mix things up yet follow a rough set of parameters with beautiful results.

"Not Withstanding" jumps out like a delightful and fierce piece that could have been written by Zorn's Masada. It's filled with both improvised accompaniments and stoic solos. All shifting back and forth through various counterpoints making for an intense and fun listen. "Para Waltz," a wonderful ballad that starts off solemn and quaint thanks to Maroney and slowly builds in stature. Mahanthappa's horn sounds big yet very romantic pared against Dresser understated touches during this piece.

The harmonic structure of "Rasaman" is highlighted by the always immepecable Michael Dessen and his early exchanges with Mahanthappa. Another lovely and romantic number that feels more like a journey than just a musical number.

Mark Dresser has put together a tightly woven document with Nourishments. An exemplary piece which is also filled with improvisations that while challenging are also very inviting. Nourishments is a superb album that delivers on every construct and theme which should give every listener something to think about after the first spin.

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.

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.

Filipe Felizardo: Guitar Soli For The Moa And The Frog

Filipe Felizardo (guitar, effects)
Guitar Soli For Moa And The Frog (ShhPuma/Clean Feed; 2012)

You know every guitar player doesn't have to sound like Ry Cooder, Bill Frisell, Robert Fripp or Michael Brook, to name a few of the famous modern ones (yes I'm leaving about 20 out but there's only some many lines I can write). It's when the guitarist takes the time to create and expand on their influences that really catches my eye.

That's what I found while exploring the textural soundscapes created by Filipe Felizardo on his debut, Guitar Soli For Moa And The Frog.

Notes and tones phase in like recurring dreams on the opener "Against The Day." Soft and deeply emotional, Felizardo's notes have a rustic quality. And that makes "Against The Day" echo long after its final movements have completed.

The extended suite "A Conference Of Stones And Things Previous" holds a similar inquisitive nature, with chords slowly crafting a journey that is raw and sweet. On the third movement "Obsidian", we do get a sense of a rough edge to Felizardo's playing. This is a dark poetic movement that hangs and doesn't tend to let you go.

"Of The Excrement and the Frog" posses an eastern aesthetic with a haunting blues undertone. The textures that Felizardo works through reminded me of work by the Italian duo, Zero Centigrade. Beautiful and melodic, but demands patience.

Guitar Soli For The Moa And The Frog is an impressive debut with quiet, ethereal ideas and patterns which may actually be best absorbed through headphones. Filipe Felizardo has delivered a wonderful compelling and challenging record. And shows that foundations of experimental guitars and exploratory folk can transcend both sides of the Atlantic. Highly Recommended.

Ellery Eskelin: Mirage

Ellery Eskelin (sax)

Mirage (Clean Feed; 2013)
Michael Fromanek (bass)
Susan Alcorn (guitar)

Ellery Eskelin is a troubadour. His creative talent has been on display both as leader and member for almost three decades. A warm and enveloping texture to his recordings is always present. On his latest, Mirage, his display an intriguing outback journey that feels like a desert soundtrack.

Susan Alcorn's shimming opening chords on "Rain Shadow" forecast a session that is filled with majestic passages and mysterious undertones. Eskelin's notes weave slow a gently around bass and guitar and accentuate the haunting nature of piece. "Saturation" is an rolling improvised piece that while each member seems be moving in divergent directions by midway, a slight melody evolves and then slowly deconstructs. Alcorn and Eskelin play off one another beautifully.

There are times when Eskelin's tones sound like late period Ornette Coleman circa the Naked Lunch soundtrack. One of those moments for me was the epic piece "Downburst." A slow moving blues style ballad mixed with intrigue and experimentalism. Fromanek and Alcorn have silent and introspective conversation throughout. This, while Eskelin's journey moves across like broad strokes of a small paintbrush. Lovely and lengthy.

Mirage is document that paints a beautiful and luxurious picture with influence of avant garde, blues and Americana. This, all resulting in an excellent soundtrack for a Summer journey. Enjoy a very deep listen.

Rodrigo Amado: The Flame Alphabet

Rodrigo Amado (sax)

The Flame Alphabet (Not Two Records; 2013)

Gabriel Ferrandini (durms)

Jeb Bishop (trombone)

Miguel Mira (cello)

I've come to learn that each Rodrigo Amado record is going to be exciting and a challenge. With his out Motion Trio added by Chicago trombonist, Jeb Bishop, Amado delivers another fun and energetic performance that keeps the ear attuned.

The Flame Alphabet is the quartet's first studio album, following their live debut, Burning Live At Ao Centro.

You would think that in the studio the vibe would be contained and little less vibrant. You would be sorely mistaken. The sound is still bold with lots of urgency. "Burning Mountain" and "Flame Alphabet" both have Amado in fine form. Tearing into notes and undulating patterns like a reincarnated Archie Shepp. Bishop flexibility allows for great interaction between both Amado and Ferrandini which makes for some excellent concentration on the listeners end. But it is extremely rewarding.

"Into The Valley" is a scaled back piece. Amado's horn is sparse, while the rest of group revolves around a small series of improvised tones. This all comes crashing against fierce lines delivered by Mira and Ferrandini as the track moves forward. "The Healing" closes the album with grace. A ballad the drifts gently on the waves of Amado's notes. But Bishop provides a tones that almost feels like a trumpet.

Rodrigo Amado's new ensemble is a spot-on quartet that delivers with every note. Detailed, intricate, electrifying and inventive from beginning to end. The Flame Alphabet is an album that you will come back to--again and again.

Kris Davis: Capricorn Climber

Kris Davis (piano)
Capricorn Climber (Clean Feed; 2013)
Ingrid Laubrock (sax)
Trevor Dunn (bass)
Tom Rainey (drums)
Mat Maneri (viola)

The incomparable, Kris Davis returns with more brave and complex patterns on her sixth album, Capricorn Climber. Davis, is part of the new legion on New York musicians that are redefining the scene nationally and globally. A scene composed of such notables as Tom Rainey, Mary Halvorson, Peter Evans, Ches Smith, Tashawn Sorey, Moppa Elliott, Jon Iragbagon et al. But Davis like Halvorson has been one of the major standouts for me over the last few years.

Capricorn Climber provides all you need to know and hear from a talented composer with challenging ideas. "Pass The Magic Hat" is a smooth yet very involved piece. The first steady tempo is lead by some lovely rolling lines from Davis. This is subtly balanced by Rainey and an uncharacteristically calm Laubrock, who sounds bold and romantic. Then all that changes as the piece moves forward and becomes even more reserved and delicate. Maneri dominates with some wonderfully inventive and chaotic notes. Beautiful and surreal.

Davis gives Trevor Dunn a lot of room to roam of course on "Trevor's Luffa Complex." The opening solo is superb and illustrates how well developed his craft has become in the last few years (actually he's been at way longer than that). He sets up some lovely exchanges with Laubrock that then fold nicely into a boiling cascade as Davis and Rainey come blasting in.

"PI is Irrational" flexes back and forth with breaking rhythms and patterns, mainly from Maneri and Rainey, with little slices of improvised notes floating in and out from Davis and Dunn. Laubrock's arrives towards the end of the number to add a nice linear passage for the closing notes by Dunn.

Maneri really shines in Davis' pieces, this is evident of the title track where his conversation with Davis is a perfect simpatico. Once the rest of the quintet dive in, the piece becomes a bright wash of sound that levels off calmly but with deep sense of structure.

A new album from Kris Davis always brings real joy to my ears. Capricorn Climber is definitely one of the more developed and intense sessions she's done so far. And it may take a little time for you digest all its beauty. But you will shortly realize how important Kris Davis has become as musician, composer and influence on a larger scene globally. Highly Recommended. And one of my albums of the year!

Angelica Sanchez: Wires & Moss

Angelica Sanchez (piano)
Wires & Moss (Clean Feed; 2012)
Tony Malaby (sax)
Marc Ducret (guitar)
Drew Gress (bass)
Tom Rainey (drums)

Everyone knows I tend to rave about Fred Hersch and Jason Moran as my favourite modern pianists. But there are others that are emerging with the same talent and vision as these two future legends. Kris Davis is definitely one of those that I put in the list. Recently I have also been listening another bright and inventive composer, Angelica Sanchez.

Sanchez, now with her forth album (third for Clean Feed), hopefully will find a wider audience. With Wires & Moss, she explores an ever growing lyrical and conceptual structure that is both calm and free flowing. "Loomed" is an expansive piece with various layers of expression, tightly pulled together by Ducret, Malaby and Rainey. Sanchez and Gress play the static calm palate to the trio's frenetic brushes. But it's always the leader who carries the tune's soft undulating notes towards the close.

"Wires & Moss" is a stunning display of rolling melodies. Sanchez's performance is filled with multiple chord changes and jagged directional cues for the rest of the quintet. Early on, Ducret shines with crafty Arto Lindsay meets Thurston Moore type qualities. The piece moves up, down and outward. The rest of the group approach midway through and it becomes more poetic with each movement. Gress and Sanchez take the band quietly out with some beautiful passages.

Motionless might be the feeling you get from the closing number, "Bushido." This starts off gently but then moves roughly in staccato motion while consistently holding the listener in place. The entire quintet is scorching on this number and exemplifies Sanchez's creative vision that she has worked on since setting out as a leader over a decade ago.

Angelica Sanchez writes with a very cerebral approach that puts her in a category of the previous mentioned artist from my point of view. If you haven't experienced her music before--now is the time. Wires & Moss is absolutely brilliant and highly, highly recommended!

Eric Revis: Parallax

Eric Revis (bass)
Parallax (Clean Feed; 2012)
Ken Vandermark (sax, clarinet)
Nasheet Waits (drums)
Jason Moran (piano)

So I'm really writing this as I listen. I'm so excited that I wanted to immediately start talking about this record. Four incredible musicians on the scene today. And two of my favourite musicians of the modern era (Vandermark and Moran) joining forces under the direction of Eric Revis to create a cinematic and powerful document of free jazz.

This really unbelievable line-up formed in 2009 briefly for a few shows in New York before actually putting pen to chart in the studio. But the results of this session, Parallax, are some of the best you will have heard all year. And what better time for it to arrive than the final few weeks of the year. 

The opening "Prelusion" and "Hyperthral" present the combination of styles of the modern free movement and the crisp traditions each musician inhabits. Revis' composition tone is calm but always with a crisp sense of experimentalism through the spectrum. The trio of Vandermark, Waits and Moran sounds quite commanding and mature with Moran and Waits tearing through lines at a fierce pace. Vandermark sounds brilliant in an almost laid back manner than previous sessions.

"MXR" is a pounding march led by Vandermark (on clarinet), Waits and Revis. It's fun yet tricky intertwined lines provide a challenging but fruitful listen. "Celestial Hobo" is a well structured improvised piece. Revis allows each musician an opportunity chart a course that is introspective and works the lines of the tunes dedication to author Robert Kaufman.

"Winin' Boy Blues" sees the quartet gently reworking the Jelly Roll Morton classic. It's a beautiful Sunday Morning blues sent through a corkscrew. The group rise to the top of this piece with superb performances. This is one number I would love to see live.

Eric Revis doesn't have a lot titles as leader. He is widely known as an essential band member. But with Parallax, Revis has entered the realm of significant composer. This session is simply outstanding and should not be missed by any jazz fan; you don't get a set of musicians together like this in today's modern scene. Don't miss out. Parallax is one of the best records of the year. Highly Recommended!

Hugo Carvalhais: Particula

Hugo Carvalhais (bass)
Particula (Clean Feed; 2012)
Emile Parisien (sax)
Mario Costa (drums)
Gabriel Pinto (piano)
Dominique Pifarely (violin)

In the last year I have become a massive fan of the exceptionally talented composer/musician, Hugo Carvalhais. His debut, Nebulosa, was one of JazzWrap's best albums of 2012. And yes, guess what, his new album, Particula, delivers the same kind of results and better.

With Particula, Carvalhais creates specific structures within very dense space. This is an album that lies somewhere between minimalism, fusion and chamber, but with all sorts creativity hiding in unsuspected places. "Chrysalis" peers into dark matter to bring forth a beautiful and introspective spirit which emanates from each instrument. Man focus being Pinto and Pifarely until the rest of group begin to intersect.

"Capsule" is possibly the most contemporary piece on Particula. With miniature melodies from Pinto and well place notes from Carvalhais all woven together early on by Pifarely and Costa, this a gorgeous piece that soon moves from contemporary to free form but still maintains a sense structure.

"Amniotic" is just as it refers and it's a great closing tone for the album. It's the same return to the dark, insular place that holds the sound in. Short bursts from Parisien, plucks from Pifarely and electronic waves from both Carvalhais and Pinto make this a eerie but special outgoing number.

The spirit and sense of adventure within the darkness is probably what draws me Hugo Carvalhais compositions. But either way Particula is one of those extremely special albums from a quickly important figure on the European scene. Highly Recommended. And one of JazzWrap favourite albums of 2012.

Igor Lumpert / Martin Kuchen

Igor Lumpert (sax)

Innertextures Live (Clean Feed; 2012)

Nasheet Waits (drums)

Christopher Tordini (bass)

Trespass Trio 

Bruder Beda (Clean Feed; 2012)

Martin Kuchen (sax)

Per Zanussi (bass)

Raymond Strid (drums)

Two divergent releases from Portuguese label, Clean Feed, filled my listening over the last few days. And they are both worth checking out for different reasons.

Born in Slovenia but raised on the diverse traditions of both American and European Jazz, Igor Lumpert has a style that is both relaxed and complex. His training and performing with the likes of Reggie Workman, Buster Williams and Chico Hamilton to name a few probably has a lot to do it. But on Innertextures Live, Lumpert's third release as leader, he begins to shape his voice, vision and destiny.

Innertextures seems to be a revolving cast of musicians that each delicately and diversely interprets Lumpert's richly molded compositions. This approach reminds me of a less cerebral approach to Chicago Underground, led by Rob Manzrek. But here, Lumpert is more concerned with taking the listener on a journey of colourful expressions and hard bop tonality. 

"Still Dreaming" gets things off to delightful start. Tordini's slow infectious bassline is wrapped tightly by the always exciting Waits kit. Lumpert throws bold and muscular notes that intersect at various points with his bandmates but shows that this live outing is going modern but with a few twist and turns. "Perug" rips along in furious succession. Tordini and Waits are giving space to create some nice, big solos with lots of creative pace. Lumpert's fury throughout this piece felt like mid-period Coltrane.

Lumpert shows great skill and beauty on "This Is For Billy Holiday." A lovely ballad with poise and passion. It's heavy and introspective but filled with Lumpert taking a delicate and exact approach. This piece really shows the diversity in his performance and compositions on Innertextures Live.

Remaining introspective but moving almost completely in the opposite direction, Swedish reedman, Martin Kuchen returns with a set from his Trespass Trio. Molded and wrapped in more layers than the previous two sessions with this trio, Kuchen explores more personal family history (which he has done in recent years). This time about his relative who was a World War I Jewish German veteran who later became a Monk. A passionate and intense celebration can be felt throughout the trio debut, Bruder Beda (named for the relative).

There is a deep sense of solitude from the piece "Don't Ruin Me." Per Zanusi and Raymond Strid provide a Jewish heritage backdrop with their steady notes and rhythm. This allows Kuchen to stretch and create a dialogue that tells the story smoothly but with thick texture. "Todays Better Than Tomorrow" feels like a suite. The opening movement is a rich cavalcade of emotions led by Kuchen. This moves effortlessly into quiet, atmospheric tones which Strid does a good majority of the improvising. The final movement sees the trio rejoining its original themes with a harder edge and then gently taking the listener downward to fade out.

The blistering "A Different Koko" and the third outtake of "Ein Krieg In Einem Kind" both present Kuchen's ability to scale the heights of free form expression but also still maintain a sense of inner depth. That density is something even the non-familiar Kuchen listener can be drawn to. Kuchen's lyricism envelops you by the end of this emotional journey. Very exciting work.

Igor Lumpert's Innertextures Live is a wonderful work of romanticism and hard bop that is slightly not what you expect from the avant garde jazz label. Marting Kuchen again shows that he is one of the talented and well-sought after musicians on the European scene with Bruder Beda. With two ends of the spectrum represented - one with a modern approach, the other more spiritual and thought-provoking. You would do well to experience both of these great saxophonists. Highly Recommended and richly enjoyable.

Pao

Pao (trio)

Pao (Shhpuma Records/Clean Feed; 2012)

Travassos (electronics)

Pedro Sousa (sax)

Tiago Sousa (keyboards, percussion)

A very interesting debut for Portuguese trio, Pao. This is a dark, experimental and at times almost spiritual session, that is more than the sum of its parts. Structured by three long pieces, Pao demonstrates an ability to both calm and intrigue through a series of improvised pieces that still remain distinct and linear.

Opening quietly with gentle chimes and eerie electronic scratches/manipulation and one tone sax chords, "Gods Wait To Do Delight In You" establishes the path in which you are about to take. There are drones and effects that are dense yet mystical. The slow climb is similar in vein to The Necks or even more recently DMP Trio. Closing out "Gods..." is P. Sousa's haunting sax and Travassos' undulating electronics which are weirdly soothing.

"Dyson Tree" for me, had an almost Sunday morning church call to it. The effects of T. Sousa's keyboard provides an organ like operatic sound. While Pedro and Travassos inject an Eastern element into the mix as the tune moves towards it's middle lyrics. Rich and creative soundscapes happen throughout.

The closing number is my favourite. "It Was All Downhill After The Sling" is rough, gritty and beauty all at once, containing improvised lines that make you feel like your listening to session with Sonic Youth. The patterns never get overly loud. Pao manages to find a way to deconstruct and reorganize in a way that resonates long after the piece is over.

Pao is an exciting and highly creative trio from the new and continually adventurous Portuguese scene that is well worth your investigation. Sometimes you like to use the phrase "this won't be everyone's cup of tea"--but every once in a while I think everyone needs to be jarred out of their seat. Go buy this record! Highly Recommended!

Motif: Art Transplant

Motif (group)

Art Transplant (Clean Feed; 2011)

Havard Wiik (piano)

Ole Morten Vagan (bass)

Hakon Mjaset Johanson (drums)

Atle Nymo (sax)

Axel Dorner (trumpet)

Motif is a Norwegian quintet that is celebrating just over ten years on the scene. Each of the members has a stellar career on their own, but together they have produced four phenomenal albums that rely on modern thinking but root themselves in the traditional ethics of improvisation. Motif's latest, Art Transplant is their first for Clean Feed Records after two acclaimed records for Jazzland and Aim.

Art Transplant feels like it was always going to be the right move for the band. It's risky and combines elements of the ensemble's modern thinking with more adventurous muscle than previous records. "Korean Barbeque Smokeout" starts with a bit of quiet investigation from Nymo before the rest of the band burst through with a collision of sound. The explosion rips the fabric of the harmonics and makes for a beautiful convergence of ideas; at times feeling like Ornette Coleman's quartet circa Shape of Jazz To Come.

Dorner and Nymo provide an intense but also playful exchange at the beginning of "Alkiis" which later levels off to improvised dialogue between Dorner and Wiik. Gradually each member returns and the melody ebbs into exchanges for Wiik before the group finally comes full circle for a rousing conclusion.

The inquisitiveness of "Something For The Ladies" with Nymo on clarinet playing rich lines that reminded me of Don Byron. The piece is frenetic but with a soft tone just underneath the wind instruments. It's sneaky like nice slice of spy-jazz from the 60s and great mid-section where Wiik gets to fly were some terrific improvised notes.

Motif has shown that each album is more diverse than the next. With a solid lineup that doesn't seem to change, the ensemble is always in complete unison. And with Art Tansplant, they've shown that their unity breeds exciting creativity and fluidity.

Red Trio: Stem

Red Trio (w/Nate Wooley)

Stem (Clean Feed; 2012)

Rodrigo Pinheiro (piano)

Hernani Faustino (bass)

Gabriel Ferrandini (drums)

Nate Wooley (trumpet)

Like the old saying goes, "wine gets better with age," so too does the fantastic Portuguese group, Red Trio.

A phenomenal yet minimal self-titled debut that features a wide array of improvised occurrences with stellar insights in composition went further with the follow up, Empire. Empire featured British saxophonist, John Butcher as the interpretive foil to the trio's experimental exploits. This session seemed to awaken a challenging spirit within the band (especially on the title track). Now that inquisitive spirit has collided with the free form agility of one of my recent favourite trumpeters, Nate Wooley for the superb, Stem.

This quartet came together only a few months ago as a live collaboration but you can feel that Red Trio quickly developed a unique chemistry that makes this session even more personal and entertaining than Empire. The outstanding opener, "Flapping Flight" features jagged edges and improvised chords by the trio intersecting with short delicate notes by Wooley that rise and fall with romantic flavour. The piece expands as it moves into it's middle movements and creates similar exchanges to that shared on the trio's work with Butcher. Wooley and Pinheiro share a rolling battle of notes towards the end that is both captivating as it is complex.

Pinheiro's playing is at times very straight while delightful chaos occurs around him. "Ellipse" is one of those moments. Pinheiro's performance is almost Jarrett-esque but it is punctuated by canon of experimentalism on display by the rest of the group. Ferrandini's drums put on a quiet Billy Higgins type display. Rhyming when necessary and floating freely when called upon. Wooley goes from a stoic and melodic tone to dark quiet breathy exchanges with the trio almost silent adding a haunting yet organic nature to piece that is revelatory. 

"Weight Slice" has a frenzied pace that holds the listener in place while short burst of notes almost coalesce into one pattern but then brilliantly explode in the opposite direction. Wooley has individual dialogues with the trio throughout this piece. "Weight Slice" is probably the best example of the camaraderie this group has developed in such a short amount of time. The quiet almost ethereal departure of "Tides" is remincesent of Red Trio's debut. A spacious conclusion with slow droning effects and low tones that make you stop and investigate each note.

Stem is the best work to date by Red Trio and the addition of new musicians over the last two outings has only made this group better, inventive and fresh - like aged wine. Stem is one of those albums that will last with you all year long. Highly Recommended.


This is an older video but does highlight the creative thinking within the bands structure.

Michael Dessen

Michael Dessen (trombone;electronics)
photo: Daniel Theunynck

Michael Dessen has an uncanny ability to craft pieces that are delicately structured but also uncharacteristic of his contemporaries.

Similar in vein to Ray Anderson, Dessen also has the ability to move between genres with ease. While he has recorded in many different settings, it has been his recent trio work that has really caught my ear.

Formed only a few years ago, Dessen uses the trio format to explore a number conceptual rhythmic structures. This makes for intensive listening but also a high degree of discovery. 

On their first album, Between Shadow And Space (Clean Feed; 2008) along with Christopher Tordini (bass) and Tyshawn Sorey (drums) create a dense, evocative and fluid mixture of acoustic and subtle electronic instrumentation that is really mind-blowing on first and repeated spins.

The title track deploys a rich counterpoint and improvisation. Tordini and Sorey are the perfect counter for Dessen's compositions. This trio challenges and explores each other's strengths. Patterns are structures are slowly built up and quietly torn down over the course seven minutes on the opener and the listener gets a full understanding of what Between Shadow And Space will be for them--A journey through space, sound and thought.

"Chocolate Geometry" moves along in multi-layered fashion. It's like meditative suite. Gentle introspective passages delivered by simultaneously by Sorey's complex brushes and some dense strokes from Tordini. Dessen's trombone turns into a manipulated trumpet augmented by just the right amount of electronics to mix things up and send the piece soaring.

"Water Seeks" comes flying in to the close out the session. A beautiful and searching piece dedicated to Alice Coltrane with all the harmonics and resonance that would be associated with great composer/harpist/keyboard player. It's loaded with rich texture, sharp hues and rising atmospherics that quietly fades leaving the listener some traces of a long beautiful journey.

Dessen reassembled his trio for the even more rugged Forget The Pixel (Clean Feed; 2011). This time with Dan Weiss on drums and Tordini remaining. The results are the same but Weiss does pack a aggressive punch to Sorey's more insular and thought-provoking approach. Both drummers are perfect in this setting though.

"Fossils And Flows" rips through the speakers introducing the lineup and direction. The trio never let up. Its sound quickly becomes an avalanche and Dessen's use of electronics feels like a thousand aliens sending a message that things will be different this time as his group visits your stereo. "Fossils And Flows" is actually an observation on the BP oil spill in the U.S. and and when listening, you get the feeling how things quickly got out of hand in the Gulf is similar to how unique the sound of this trio moves shapes and patterns.

"Forget The Pixel" is a more organic and improvised piece with each member exploring different aspects of Dessen's composition. It's a number that moves, and moves with light but an effective pace. Dessen and Tordini's exchanges are tight and beautiful well placed. Weiss' drums come in first like a military band and quickly turn impressionistic. Tones and utilization of space is one of the reasons why I have been so captivated by Michael Dessen's trio work. "Three Sepals" is another exemplary mark of his unique writing skill. It's a subtle ballad that stretches from note to note. It also has just the right amount of hard tones to keep the listener engaged, waiting for the next unknown marker. A real treat for the ears.

I have to admit, I've only just discovered Michael Dessen's work in the last year so I have a lot of catching up to do. But from his trio work and a couple of other albums I've gotten over the last few months I am completely absorbed and excited by his material and direction. His playing and writing are superb. He doesn't use the electronics as a gimmick. The sounds are more a subtle aid moving in and out time. They never overtake the rhythm or the meaning of a tune. And that's pretty hard to do. Michael Dessen has proven he is a gifted artist with the trombone, electronics and in composition. An artist who is continually thinking and rising above.