David S. Ware: Organica

David S. Ware (sax)

Organica (Aum Fidelity; 2011)

Organica is the second volume in a series of solo saxophone performances that the great David S. Ware has begun to record and is even more amazing than the first outing. Recorded live over the course of 2010 at two separate performances in Brooklyn and Chicago, Ware illustrates why he is one of the most technically proficient and exciting free-thinkers on the scene today.

Both performances feature two selections ("Minus Gravity," "Organica"). The concept other than the fact it is a solo performance, is Ware's use of multiple saxophones. For these concerts, Ware's main instruments are the sopranino and tenor. "Minus Gravity" is the more intimate piece of the two on both evenings. Ware uses the sopranino here and it provides a more clear and high tone that gives the piece a lot of air to breathe. In addition it allows "Minus Gravity" becomes more of a spiritual journey.

The difference in the performances can be felt in the intimacy of the rooms and production. The first performance in Brooklyn feels closer and deep. The Chicago show has a little more distance but still travels along a heavenly vibe, and the both versions have wonderful cascading endings that are sublime.

"Organica" is the more free moving and improvised of the two numbers. On tenor this time, Ware shows why he is one the most creative players about a quarter of the way through when he switches direction from moves up and down through about two or three cords. It may seems like screeches to the uninitiated but to the Ware fans at heart this is pure mystification. Ware gets more expressive and humorous as the piece enters its middle section before it's return to a settled and constructive conclusion.

The Chicago version feels dense and reflects an almost blues tone to it. There's a lot more emotion in the power laid into this evening's version than Brooklyn. The notes are short, sharp and tense. Ware seems to have found a groove that makes a definite impact from start to finish in Chicago.

Organica is an explosive and emotional recording. A real lesson on what a solo performance is suppose to feel like. And a superb treat for fans of David S. Ware. An artist who seems to go from strength to strength. 

Aram Shelton & Kjell Nordeson: Incline

Aram Shelton (sax)

Kjell Nordeson (drums)

Incline (Singlespeed Music; 2011)

Aram Shelton has been one of my favourite discoveries over the last few years. There's a forcefulness and deep intuitiveness to his performances that has always amazed me.

Kejell Nordeson is a terrific and inventive drummer whom I have followed since his days with Swedish outfit Aaly Trio (due to their recordings with Ken Vandermark).

It's no really surprise that these two creative forces finally found each other with their group Cylinder. The two minds are on a very distinct and similar wavelength.

While Cylinder is an improv masterclass, the duo's project, Incline (Singlespeed Music) is more a free-thinking sprawling yet very honed study of personal interplay. "Village" is an incredible opening track. A torrent of sound on par with David S. Ware/Andrew Cyrille. The piece builds rapidly as the two scream back and forth with notes that peel the skin from your eardrum. Fun, eh?!?

"Orbit" is more a solo outing for Nordeson as he picks, clangs, taps and pounds notes from the ether. Beautiful and investigating, it all flows nicely into "Test", a melodic piece that is percussive and emotional. Led by heavy, deep undertones from Shelton and Nordeson create a blossoming atmosphere that fills the space yet is completely free of structure.

"Rig" sees Shelton in the solo role. Here stretching and constructing notes paint a slow moving Jackson Pollack-esque picture. The piece is short but moves nicely into "Soles," a mountain of a piece that rips the top off of everything. Shelton and Nordeson seems to be in a completely higher plane. The piece gets louder and louder with the two seemingly melding into one until a gentle all-halt.

Incline is an album of multi-layered complexity. The unity between the Nordeson and Shelton is very apparent through each note. This is the duo that was long in the making but we are better off for it. Incline is another keen masterpiece in the history of both Aram Shelton and Kjell Nordeson.

This video features Cylinder but gives a great insight into the two musicians unique talents as well as a fascinating look at their quartet.

David S. Ware: Planetary Unknown

David S. Ware (sax)

Planetary Unknown (AUM Fidelity; 2011)

Muhammad Ali (drums)

William Parker (bass)

Cooper Moore (piano)

Reaching far out and beyond has been a hallmark of David S. Ware's music since first bursting on to the scene, over three decades ago.


He has said on many occasions that he is not looking for the notes or the chords. It's the overall direction and the journey the music takes you on that should be the focus. This is what you get on Ware's latest, Planetary Unknown (AUM Fidelity).

Ware's interpretation of sound is beautiful and nearly indescribable. Yes, there is the free jazz element that lays itself on top of the consciousness of the listener but there is a much deeper exploration to be found with each release.

Planetary Unknown is mainly one long improvised session but the one difference here is the musicians have very rarely worked together (with the exception of Parker) so this was not only an unknown adventure but also discovery of what other worldly themes would develop. The epic and endearing opener "Passage Wundang" moves from soft yet intense to blistering and encompassing without notice. Ware's passages over the top of Ali's pulsating drums are rapturous.  Ali later gives way to an emotional yet sparse Moore who utilizes the space underneath to set some key tones. Ware and Parker later rejoin in a subtle blues-like fashion before they all fade to black.

"Duality Is One" actually does start off with "some-what slightly" noticeable string of chords, before spinning into the main theme--an improvised battle between drummer and saxophonist. It's great to see both musicians challenging each other and hit near unreachable notes. Ware really wails and Ali adjusts to the call with ease just as Ware's usually sparing partner William Smith has done for years. "Ancestry Supramental" and "Crystal Palace" both feature some tight rhythmic patterns from Moore that counter Ware's frenetic flow along with Parker and Ali's pulverizing timing. There are hypnotic moments in both pieces no matter how chaotic it may sound.

Planetary Unknown is the sound of an elder statesman who hasn't lost a single step. David S. Ware keeps reaching upward and out. Leaving this world and showing us the way to a new altogether more interesting one. All aboard...

David S. Ware: Onecept

David S. Ware (sax: tenor, stritch, saxello)
Onecept (Aum Fidelity; 2010)
William Parker (bass)
Warren Smith (drums)

David S. Ware's newest release, Oncept (Aum Fidelity) is a celebration on multiple levels. First it is a celebration of a half century of playing saxophone and creating music which has engaged and challenged listeners and the structure of jazz itself. Second it is continued documentation of an artists overcoming adversity (dialysis, kidney transplant) and pushing forward with the exploration of spontaneous sound.

Oncept was recorded just a few months after his return to live performances (as documented on Saturnian (Aum Fidelity; 2009)). The trio which he has worked with in various forms (most recently 2008's Shakti) is in supreme form on Onecept. This is free form improvisational album similar to the solo concert album Satunian. Ware utilizes the same saxophones he used for that concert on this session. While there is a distinct difference in the sound of each horn that Ware uses, the main theme that runs throughout the recording is the unity of the trio.

"Book Of Krittika" opens the set in gripping ascendancy. Ware performs on the stritch sax. Both Smith and Parker are exquisitely in snyc with Ware's vision on this piece. Ware and Parker have a wonderful battle about midway through that is truly magical. "Celestial" is smokin' piece which Smith's drum work is slice of brilliance. Parker and Ware appear to follow along but you soon realize this is one unit playing a breakneck pace. That pace bleeds into "Desire Worlds" (with Ware playing saxello) which see Smith and Parker keep time on a feverishly changing of patterns from Ware. Absolutely stellar stuff.

"Astral Earth" and "Bardo" (Ware playing tenor on "Bardo") are two slightly midtempo gems with emotional resonance that exude the joy and bliss. There is a special connection on Onecept that for me highlights three musicians whose harmonic relationship has produce a collection of brilliant recording over the years. Oncept is just another jewel in the David S. Ware's ongoing career of excellence and creativity. Here's to his 50 years of playing saxophone and hopefully many more.

Plunge: Swedish Accesibility?

Plunge (group; formed 2001)

Andreas Andersson (sax)

Mattias Hjorth (bass)

Peter Nilsson (drums)

Swedish trio Plunge were a bit of a revelation for me. I was stumbling around in a used record with 12 USD (9 Euros) in my pocket. I had no idea what I wanted that day. I noticed a CD by a band name Plunge. The artwork wasn't very convincing but I had a strange feeling this was meant for me. I decided to picked up the album and had 2 USD left to spend (not much you can buy with two dollars).

I had a small apprehension because I felt my collection was overflowing with trio albums but once I got home and put their debut CD Plunge (Kopasetic) things change within minutes. Plunge present a very different element. While this may be considered free jazz or avant garde and there is definitely a improvisational aspect to the recording, there is a great deal on structure, melody and interplay that can make this appealing to the average jazz listener.

The opening piece "Exhibit A" is great statement of intent by this young band. "Exhibit A" builds slowly with some powerful counterpoint from Andersson and Nilsson and subtle undertones from Hjorth. This is precision at its best. Plunge don't sound like many of their Scandinavian counterparts. There is a real sense of accessibility within the experimental elements of their songs. This is evident of both "Solace" and "Bommen", both are loose ballads that have nice rhythmic beauty to them. Nilsson and Hjorth move freely next to Andersson's richly toned lyrics.

The album does have is serious free jazz moment with "Ebonology" which could almost be a David S. Ware or Ken Vandermark piece in its dynamic approach. "Ebonology" shifts from silence to catharsis and back again with effortless precision. Even the non-free jazz listener would be impressed.

Plunge have definitely set a marker for how harmonics, improvisation and accessibility can coexist. Their debut was a great find. And while their music is available for download I have forced myself into the always frustrating but rewarding journey of tracking down the physical CDs. For those of you out there interested in free jazz/avant garde but might be afraid because you might not "get it" or its too difficult to follow--Plunge might be the best offering and entry for you. Well worth your checking out. It was 10 dollars well spent for me...