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!

Charles Lloyd & Jason Moran: Hagar's Song

Jason Moran (piano)
Charles Lloyd (sax)
Hagar's Song (ECM Records; 2013)

One legend and one future legend meet in the studio... When Charles Lloyd and Jason Moran first started playing together a few years ago, I thought it was a fantastic meeting of creative minds. Over the course of a couple of records they have demonstrated deep beauty and an understanding of how each moves lyrically.

Now on their first venture as a duo without a quartet or ensemble, they show just how grand their relationship has become. Hagar's Song is a brilliantly extensive and emotional session with multiple stories. The performances are full-boded and encapsulating. This session at times reminded me of two sessions made by the late, Frank Morgan (sax) with George Cables and John Hicks on piano. Contemporary yet technically well constructed.

"Mood Indigo" and "Rosetta" swing along gently with class and verve. Moran is playful yet always intricate at the keys on both tracks. While Lloyd's horn adds the mature element of a master. Beautifully executed and thoroughly rewarding especially during the swirling improvised sections in "Rosetta".

"Hagar's Lullaby" and "Journey Up River" feel like explorations in emotional distances. Both capture an ethereal vibe that resemble some of Lloyd's early 60s and 70s work. Moran's playing is solid and conventional in a calm manner that lends itself perfectly to introspection. The session closes with the soft ballad, "God Only Knows." A superb blend of love and longing that leaves a lasting impression on the ears and memory.

Hagar's Song has Moran and Lloyd in stellar form and sounding cool and contemporary. It's cuts against the more adventurous nature you may have heard Moran in on his own albums. But it's an excellent balance for both musicians. I loved this session. It's easily one of my albums of the year. And I can't stop listening to it. Highly Recommended.

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!

Ambrose Akinmusire: When The Heart Emerges Glistening

Ambrose Akinmusire (trumpet)
When The Heart Emerges Glistening (Blue Note; 2011)
Walter Smith III (sax)
Harrish Raghavan (bass)
Gerald Clayton (piano)
Justin Brown (drummer)
Jason Moran (piano)

Like last year when I was blown away by new records from Gerald Clayton, Christian Scott and Esperanza Spalding after avoiding the hype machine, I come to that moment again. I was actually already impressed with Ambrose Akinmusire's work with David Binney, John Escreet and Steve Coleman. I have been unable to find his debut album, Prelude (Fresh Sound/New Talent; 2007), but I'm still gobsmacked at the strikingly exuberant second album, When The Heart Emerges Glistening (Blue Note).

Akinmusire has been on the scene only a short time but the musicians he has already performed with along with the growing maturity in his writing is sure to make an impact on listeners this year. Surrounding himself with a cast of musicians he has worked with already over the years makes the album a cohesive and exciting venture from start to finish.

Opening up with "Confessions To My Unborn Daughter", Akinsmusire sets the tone that he is willing to make bold statements and even bolder performances all with beauty and skill that might be beyond his years. There's an energy on this opener that both encompasses the fierceness of Clifford Brown and the modern styling of Terence Blanchard. The exchanges between Smith and Akinmusire are tight and intense. But they underscore the longstanding relationship two have had for some time now. Brown's pulsating timing adds another laying of urgency to the piece that illustrates the quintets effort to make every piece important.

"Hyena" is a midtempo piece but still holds a fresh bold consolidation in structure. Akinmusire allows guest pianist, Jason Moran (on fender rhodes here) to take some of the lead here but moves quietly in and out of the foreground. There's a heavy tone in Akinmusire's voice on "Hyena" that made me feel a lot more emotional than usual when listening to ballad. The performance cuts right into you. I loved that.

While ferocious may be an adjective for describing Akinmusire's overall tone, he manages to demonstrate a real sense of beauty on a number of pieces."Regret (No More)" is one of those numbers in which I sometimes get reminded of Terence Blanchard. It's the soft touches and long notes that feel cinematic in nature but provide a lush beauty that stretches long after the piece as concluded.

"What's New", the lone standard on When The Heart..., shows Akinmusire's more contemporary side. A lovely duet with Clayton, where the trumpeter reflects on what appears to be one of his mentors, Clifford Brown. It's a wonderful piece and shows a much more relaxed nature for Clayton as well. The two tenderly play off one another and it's a standout for both musicians. It's a touch of tradition but performed with modern respect and reflection.

When The Heart Emerges Glistening is shinning achievement from an artist that will be on the scene for years to come and his presence might change jazz in the years to come. Definitely a future voice to be heard by everyone...

Harris Eisenstadt: September Trio

Harris Eisenstadt (drums)

September Trio (Clean Feed; 2011)

Angelica Sanchez (piano)

Ellery Eskelin (sax)

What's the word for "wow!" in every language? Well that's what I have to say about Harris Eisenstadt's latest release, September Trio (Clean Feed). The Canadian born Brooklyn transplant has delivered his second record for 2011 and its even more striking than Canada Day II. This time, as a trio under the aforementioned title. 

Opening with the repetitive, melodic blues of "September 1," Eisenstadt sets the tone that this is a much different outing than Canada Day. "September 1" has you focused on the trio's interactions and the complex and free flowing nature of Eisenstadt's compositions. It's improvised but held within a tight dynamic. This may not have been achievable in any other setting than a trio.

Eskelin has a muscular tone in his phrasing which reminds me of of Ornette Coleman, while Sanchez continues to show why she deserves much wider recognition. Her agile, rhythmic yet contemplative performance has really started me to put her on the same level as Kris Davis, John Escreet, Jason Moran, Sylvie Courvoisier and Irene Schweizer. A real creative at the piano.  But the real focus is Eisenstadt's compositional work.

On September Trio he has allowed his fellow musicians the freedom to move in various directions and in addition, his own timing and melodic touches are exquisite and thoughtful. There is a moment about 2/3's of the way into "September 1" where Eskelin and Eisenstadt share some raw improvised exchanges but it will be the soft tones of Eisenstadt's brushes that you may focus in on as they are placed just under the melody. Beautiful.

"September 3," Eisenstadt allows Sanchez and Eskelin to paint a wonderful picture in cascading hues and a well placed use of space. The piece is superbly written and has moments "harmolodics" throughout. Eisenstadt remains settled into the background with steady timing until midway through when the trio begin to interweave and almost become one note of improvisation.

"September 6" starts of with a rich and bellowing solo period from Eskelin and then slowly turns into a haunting blues filled with counterpoints and lots stellar exchanges between the musicians. "September 6" while moving in various directions still displays as sense of order and investigation. The final three minute passage is spectacular as it rises in tone and then quietly descends into black.

Harris Eisenstadt has already established himself as one of most sought after drummers in the jazz community but its his writing that's really becoming more significant. The ability to write material with such breath while allowing your fellow musicians a majority of the spotlight yet still producing some excellent moments of your own, is well, nothing short of phenomenal. September Trio should be the album that finally sets Harris Eisenstadt apart from many of his peers, as a performer and a writer. Album of the year material for sure. Highly Recommended and Unexpectedly Beautiful.

John Escreet

John Escreet (piano)

Don't Fight The Inevitable (Mythology Records)

Nasheet Waits (drums)

Matt Brewer (bass)

David Binney (sax, electronics)

Ambrose Akinmusire (trumpet)


You know I'm always out on the hunt for pianists who can come close to caliber of my favourites, Jason Moran or Kris Davis. It's very hard to find that kind of forward thinking talent. But recently I stumbled across some great work from Englishmen turned New Yorker, John Escreet. Escrett's new album Don't Fight The Inevitable is a sublime piece of compositional thinking that will leave listeners staggering around trying to figure out what just hit them. That would be a might dose of creativity!

Escreet has only been around for a few years but has quickly made a name for himself stateside in that short time. Originally a member of the British outfit Empirical, John Escreet left the band prior to their first record and moved to New York to study at the Manhattan School of Music. In addition to his studies he also did a number guest musician spots. But it has been his studying and association with the great Jason Moran and Kenny Barron that seems to have had lasting impact on his compositional work. His debut recording, Consequences (Posi-Tone Records; 2008) was an astounding piece of work with mainly original material. The epic opener "The Suite Of Consequence" is reason along for any jazz fan to stand up and take notice.

Don't Fight The Inevitable is a whole step above. Where Consequences was a brilliant intersection of avant garde and post bop craftsmanship, Don't Fight The Inevitable is the work of a musician thinking far beyond the boundaries of the aforementioned sub-genres. His band consisting of David Binney, Ambrose Akinmusire, Matt Brewer and Nasheet Waits utilize some stellar abstract changes and phrasing, especially on "Civilization On Trial" and the title track, which illustrates Escreet has learned a lot from his mentor, Moran over the last few years. But don't be fooled into thinking that Escreet is a clone of Jason Moran. Escreet has quickly developed his own voice that resonates throughout the lengthy eight tracks on this sophomore effort.

"Magic Chemical (For The Future)" is the perfect example of how Escreet can switch gears from the more complex free form work to a more post bop midtempo number with lovely exchanges between Waits, Binney and Escreet. It's beautiful, powerful, arresting and challenging all rolled into twelve minutes. With "Trouble And Activity", Escreet has carved a wonderful piece in which Akinmusire stands high with some arching solos. Escreet's performance is sharp and crisp with real muscle and maturity beyond his 25 years. Another balladry moment is captured in the short but lovely "Gone But Not Forgotten"--a touching number that his mainly Escreet and Binney in duo form.

The album closes on the multi-layered and visceral tone of "Avaricious World" which seems to build and collapse upon itself with various sonic moments. The quintet really move through various patterns and soundscapes on this piece. It sort of encompasses the entire ethos of the album--post modern but circling the outskirts post bop.

Don't Fight The Inevitable is a post modern classic from a young talent that has become an established and revered composer on the scene very quickly. It's challenging music but I think John Escreet should be on JazzWrap readers list of artist to check out sooner rather than later.

JazzWrap Best Albums Of 2010 Recap

It was a fantastic year for music. Here's a recap of JazzWrap's Best Albums Of 2010.

Mary Halvorson
Mikrokolektyw
One For All
Soweto Kinch
Soil & Pimp Sessions
Jason Moran
The Vandermark 5
Polar Bear
Bobby Avey
Dave Stapleton

There were a couple of albums I didn't get a chance to write about in our Best Of 2010 list. More because I was ill for a few days and couldn't put brain to computer to get the words out. These are by no means "honorable mentions". These are fantastic and in some cases (Jason Adasiewicz, Curtis Fuller, Kris Davis and Ricardo Gallo) phenomenal records that are worth every moment hunting down.

Ricardo Gallo Resistencias (Laidstrito Fonica)
Kris Davis Good Citzen (Fresh Sounds/New Talent)
Brian Eno Small Craft On A Milk Sea (Warp Records)
Curtis Fuller I Will Tell Her (Capri Records)
Tom Rainey Pool School (Clean Feed Records)
Keefe Jackson Seeing You See (Clean Feed Records)
Magnus Broo Swedish Wood (Moserobie Music)
Jason Adasiewicz Sun Rooms (Delmark)

I discovered a lot of new music this year. This was in part to some great friends, musicians, record labels and other blog writers. I especially wanted to mention my two favourite blogs Minimalistic Music and Jazznyt. Both are a little more avant garde than JazzWrap and provide a different perspective on the global community.

In addition, contributing editor, Kristopher Spencer has the insansely insightful site Scorebaby that discusses soundtrack music from every part of the globe as well as a great book on soundtracks that he wrote a year ago which you must own. I highly recommend you check them all out.

We have enjoyed working with and hearing from everyone and we hope to continue with some great new material in 2011. I hope you dig the music and have discovered some cool stuff. For us its all about turning people on to music that's both accessible and adventurous. As always we want to hear from you as well. So if you have a record you feel would be a great fit for us to know about please let us know.

And we are looking forward to another solid year of adventure in 2011.

Video: Tom Rainey Trio (Tom Rainey, Mary Halvorson and Ingrid Laubrock)From all of us at JazzWrap, thank you.

Fred Hersch: Whirl

Fred Hersch (piano; b. 1955)

Whirl (Palmetto Records)

Eric McPherson (drums)
John Hebert (bass)

Fred Hersch has been on the scene for more than two decades. He has become one of the most prolific and consistently creative musicians around. He is not only a great performer he is an unmatched composer and interpreter of the jazz standard songbook. He has recorded material from Thelonious Monk, Bill Evans, Bill Strayhorn, Antonio Jobim and more. He has recorded with such greats as Joe Henderson (sax) and Stan Getz (sax) among others. He is consistently compared to the great Bill Evans, which is justifiable. Hersch's has a intricate and emotional ability to connect with the listen and the utmost level that you are truly moved by just one piece.

Fred Hersch was diagnosed with HIV in the early '90s and has been a great advocate against the illness. But he is also a symbol for us all on how to cope with adversity. Recently he has recovered from a coma and has come back amazingly strong with his most recent release Whirl (Palmetto Records).

Whirl is about as perfect a piano trio as you'll find. There is something very smooth and free-wheeling about Whirl that hasn't been apparent is his most recent recordings. Tracks like "Skipping" and "Mandevilla" are beautiful and intricately balanced showing a rich upbeat Hersch with superb work from John Hebert and Eric McPherson. The title track "Whirl" jumps with vibrancy and creativity that will surely make new listeners of Hersch stand up and take notice.

Whirl is by far one of my favourite Fred Hersch records. Fred Hersch is still touring (not consistently but he is out there) so if you see his name on the bill at your local jazz club I highly advise you to go. It is a must! Along with Jason Moran's Ten, its definitely one of the best albums by a pianist this year. Fred Hersch continues to paint a beautiful picture of jazz repertoire and standards that will be a monumental legacy for others to follow.

Jason Moran: Ten

Jason Moran (piano; b. 1975)
Ten (Blue Note; 2010)
Tarus Mateen (bass)
Nasheet Waits (drums)

Jason Moran--Artist and Innovator. While Thelonious Monk is an obvious influence, for me the spectre of the late Andrew Hill continually arises when I listen to Jason Moran. Like Hill, Moran explores everything within popular-art culture and what he eventually sends through the lens is something altogether special. Also like Andrew Hill, Jason Moran accomplishes this through developing big bold statements with each album.

With Ten (Bluen Note), Jason Moran has pretty much done it again. For me he continually produces exciting and challenging recordings that make you ask "why can't the others do this?" Well the others aren't Jason Moran. Ten is Moran's 8 album as leader. It finds him a jovial and creative mood with his longstanding trio of Nasheet Waits (drums) and Tarus Mateen (drums) and a celebration of just over 10 years with Blue Note Records. "Blue Blocks" opens with a nice dose of Sunday morning church roll call with very uplifting effect.

A number of the pieces on Ten were originally commissioned for concerts/exhibitions over the last few years. So its nice to hear some of this material for the first time on disc. "Feedback Pt.2" is one of those pieces and has loads of atmospheric effects mixed with Moran's classical side reminiscent of his material on the highly acclaimed Modernistic album. Moran also tackles one of his influences with an incredible reworking of "Crepusucle With Nellie" which for me makes this album worth owning out right.

For anyone not familiar with Jason Moran I would say this is the album to own. Jason's material while superior in every aspect is at times what I think most new listeners might want to investigate. The material is inviting while still challenging the order of things. This is evident of opus "Gangsterism Over 10 Years" which is probably the sequel to the related track from Modernistic "Gangsterism On Irons". It's uptempo and accessible yet still includes a complexed song structure.

Moran also extends tributes to two more influences, Leonard Bernstein on "Big Stuff" and "Play To Live". Both are dynamic in separate ways. "Big Stuff" is a pounding rendition from Bernstein's score for Fancy Free. "Play To Live" was co-written with the late Andrew Hill and highlights Moran's delicate touch on the keys and a quiet yet almost emotive backing from Mateen and Waits.

As I mentioned earlier Ten is probably the most engaging and accessible album for a new comer to Jason Moran. For the rest of us its more of the same brilliance he has brought over the last 10 plus years. This is highly recommended stuff that continually sets Moran apart from many other piano players of his generation. For me this is his second best record next to Modernistic, and definitely on my top five for the year.

Geri Allen: The Year of Perfection

Geri Allen (piano, b. 1957)

It's been awhile seen I last listen to Geri Allen, the Detroit native with I would call the female equivalent to Keith Jarrett, Thelonious Monk or Bud Powell. While some might say the obvious comparison might the great Mary Lou Williams, whom was an incredible pianist in her own right, Allen has shown a deep capacity for far ranging themes and ideas with each recording.

Allen has worked with a wide array of the best jazz musicians on the planet. Arguably her most famous association is a series of albums she did with the trio of Charlie Haden (bass) and Paul Motain (drums). If you stumble across any of these albums you should definitely pick them up. They are becoming rare (even though they have been reissued in the last 10 years) so I would highly recommend them as excellent documents of what a real trio can do at the peak of its powers.

Geri Allen has recorded over 16 albums over the last 25 years. Her albums are challenging in their concepts (gospel, spirituality, legendary tributes, Afro-American themes and more) but always deliver in a subtle manner that listeners can enjoy the experience while sometimes taking on journey through American culture.

It has been four years since Geri Allen's last record Timeless (Telarc). She has done a bit of session work during that time most notably an avant garde date with Trio 3 (Reggie Workman, Oliver Lake and Andrew Cyrile). But in 2010 she has released two albums in quick succession. Both are welcomed additions to the best albums of the year.

Flying Toward The Sound (Motema Music) is a solo piano suite inspired by some of her influences; Herbie Hancock, Cecil Taylor and McCoy Tyner. Flying Toward The Sound is beauty improvisational work that brims with creativity track after track. "Red Velvet In Winter" dedicated to Herbie Hancock but sounding nothing like. It is deep and wide in scope--almost classical--but important in vision. This a mastery of the piano at its finest. The manner in which Allen scales the keys here is astounding. The epic piece "God's Ancient Sky", obviously spiritual but powerful in its beauty and structure. There are very few jazz pianist who can make a stretch a piece like this through various emotional passages and still leave you wanting more. Flying Toward The Sound is by far one the best and comprehensive Geri Allen albums in years. If you enjoy solo piano works this is well worth your time.

Geri Allen's second album this year is a live quartet recording. Geri Allen & Timeline Live (Motema Music) is Geri's first full length live album and it delivers something completely opposite to the solo Flying Toward The Sound--Geri Allen as band leader. Live demonstrates Allen's ability to craft and guide a group through her complex recordings and incorporating something most people will have no knowledge of on record at least---tap percussion. The quartet consists of Maurice Chestnut (tap percussion), Kassa Overall (drums) and Kenny Davis (bass). Chestnut's tap (yes tap dance) percussion on the vibrant and powerful opener "Philly Joe" and its successor "Four by Five" are unique and powerful introductions to the evening.


Live is Geri at her most fierce. Her work her is killer and the rhythm section support and follow her with amazing ease. It is as if she has had this band for decades not a few years. The groups performances throughout are raw and infectious. On "Embraceable You/Loverman", Allen deploys her softer touch to the keys, allow the listener to become enveloped sound and emotion. The band join along with Chestnut's tap percussion join in midway, turning it into a lovely number by candlelight. We've had to wait 25 years for a live Geri Allen album and its been well worth it. I almost wanted to cry after listening to this. Highly Recommended.


Geri Allen is one of the few pianist today (Jason Moran for me would be the other) that continue to come up with new and challenge ideas. I hope they continue and hope you will get a chance to follow along. Geri Allen is definitely required listening.

Ralph Alessi

Ralph Alessi (trumpet)
This Against That (RKM Music)

Classically trained, Ralph Alessi is a fixture in the New York free jazz scene. He has worked with Jason Moran (pianist), Uri Caine (pianist), Charlie Haden (bass) and Ravi Coltrane (sax) to name a few. The most striking thing about Alessi that sets him apart may be his adventurous compositions. He has an ability to his style of the avant garde feel effortless and easily accessible through what are some interesting and yet still complex arrangements. With just five albums under his belt and a number of outings as a session member, Alessi is establishing himself as an in-demand trumpet. His material may be similar in vein to Dave Douglas but where Douglas tends to morph into whatever concept he is experimenting with, Ralph Alessi builds and creates new frontiers with dazzling results.

His second album, This Against That (RKM Music; 2002) (also what would become the name of his current quintet) really captures his classical training and free jazz aesthetics perfectly. From the intricate yet brief opening march of "Oversoul" and its companion piece "Haw Hee" through the lovely ballads of "Elaine" and "Expectations". My favourite track, "Telepathic Voyeur" is an awesome venture of modal blues and with some subtle touches of free bop. Alessi's playing is definitely fresh and highly inventive.

He has also circled himself with such luminaries as Don Byron (clarinet), David Gilmore (guitar), Drew Gress (bass) and Nasheet Waits (drums), all of whom feature prominently throughout the recording. This Against That is really fantastic stuff. It's a pretty easy record to find as well. Well worth checking out if you're looking for something new and very creative.