Emergency!: Live In Copenhagen

Emergency! (group; formed 2001)
Live in Copenhagen 2006 (JVTLandt)
Otomo Yoshihide (guitar)
Ryoichi Saito (guitar)
Hiroaki Mizutani (bass)
Yasuhiro Yoshigaki (drums)

The Japanese experimental free jazz scene has really evolved over the last decade with artists such as Otomo Yoshihide and Yasuhiro Yoshigaki leading the way in their various groups and collaborations. One of the best groups both perform in is the quartet Emergency!. I'm assuming an homage to the legendary Tony Williams, Emergency! combines elements of the aforementioned drumming legend (thanks to the groups founder Yoshigaki), King Crimson and Last Exit. But unlike Fripp and Laswell's tour de force, Emergency! takes very specific moments to spin the guitar wall of sound into layered ambient soundscapes.

Live In Copenhagen documents the group's first exploration outside of its native country and takes their free form vehicle to the fertile grounds of one of Europe's more experimental countries, Denmark. And Emergency! really do impress.

The Yoshigaki penned "Re-Baptizum", opens the evening with a bold exchange between Yoshihide and Saito that shift between gentle and storm-threatening. This all with some superb playing by the founder, Yoshigaki.

Things get really intriguing after Yoshigaki's original as the group move through three covers to finish out this live concert. A bizarre choice--"Sing, Sing, Sing" is fascinating, fun and soaring. Lots of action going on in this one. It's worth continued listens and probably worth the price of the CD altogether.

Two beautiful and complicated compositions from two legends that seem completely appropriate in the hands of this quartet close out the evening. First, the Charles Mingus protest piece, "Fables Of Faubus". Yoshigaki's playing throughout this live recording moves from rippling to atmospheric with ease. The quartet tackles Rahsaan Roland Kirk's classic, "The Inflated Tear" as the final number and it is as intense, deep and touching as its original.

At this point in 2006 when this was recorded, Emergency! had only recorded two albums, but those albums are phenomenal and worth seeking out. While Emergency! are categorized as an experimental outfit, Live In Copenhagen demonstrates that this quartet has vision and structure that goes far beyond experimental. Highly Recommended.

Crimson Jazz Trio

Crimson Jazz Trio (group)
King Crimson Songbook Vol. 2
Ian Wallace (drums)
Tim Landers (bass)
Jody Nardone (piano)

It came as some surprise recently when hip-hop's Kanye West sampled King Crimson's classic jazz-rock jam "21st Century Schzoid Man." It wasn't especially strange that the sound of a vocally distorted Greg Lake worked well within the context of "Power," a somewhat sinister track from Kanye's latest album, but it was unexpected that one of hip-hop's hipper-than-thou artists would even be aware of the progressive rock dinosaurs. Hip-hop and prog rock don't have much in common stylistically, and even within rock circles, Robert Fripp's cult band is considered an acquired taste — you either love Crimson or you hate them.

All of this reminded me of the Crimson Jazz Trio, a group devoted exclusively to rendering trad jazz versions of King Crimson songs. Pianist Jody Nardone, fretless bass guitarist Tim Landers and the drummer Ian Wallace (a Crimson veteran) recorded two albums before Wallace succumbed to cancer in 2007. Nardone also did some singing on CJ3's second album, The King Crimson Songbook, Vol. 2, though its fairly one note in comparison to the piano playing. In addition, Mel Collins, another Crimson vet, can be heard playing soprano and alto saxophone on the album.

CJ3 does jazz justice to Crimson of the '60s ("I Talk to the Wind"), '70s ("Starless"), '80s ("Frame by Frame") and '90s ("One Time"), bringing the melodies to life with an intimate ensemble sensibility and deeply felt improvisation. Even if you aren't a fan of the band's original recordings you're likely to respond well to CJ3.

Undiscovered Czech History: Plastic People

The Plastic People Of The Universe (group; formed 1968)
Magic Nights (Munster Records)

The Plastic People Of The Universe were a fantastic and extremely revolutionary group in all the exact terms. This collective formed in the late '60s in Prague under Soviet rule which happened just a month after the bands formation.

This isolation of the times is reflected in throughout their music with elements of radical classical gypsy-esque movements in addition to Western influences like Velvet Underground and The Mothers Of Invention (to whom the bands name is derived). The music is a combination of dark love themes, rhythmic world genres and wrapped within the political strife of the era. The best way to describe it would be like going to a concert with Can, YMO, Kraftwerk, Mothers Of Invention and Velvet Underground all playing taking turns performing during one set. Yes, that would be awesome. And The Plastic People Of The Universe are that cool.

A brand new collection just came out that captures the significant moments of this band long, up and down career. Magic Nights (Munster Records) covers 1969 - 1985) covers the multiple changes in the band; from the early prog rock experimentation's to poetic structures under Egon Bondy. The band was literally "the underground". Their albums were recorded a various locations as so not be caught by Czech authorities and band member were consistently harassed and in some cases jailed.

It wasn't until the late 80s and various break ups and reincarnations that the group got any stability. Shortly after the Velvet Revolution of 1989 and under President Vclav Havel (a friend and follower of the band) that the band began to tour and record more frequently.
 
In terms of revolutionary music, The Plastic People Of The Universe are definitely a true symbol of that just as Bob Marley, Fela Kuti, Duke Ellington, Louis Armstrong were to the world of music. Magic Nights is not just a great compilation--it is a serious historical document that if you are a fan of any of the artist I've mentioned you should definitely looking into this collection.

Fusion Week: Nucleus

This week JazzWrap will take a look at some of the important (sometimes forgotten) groups that have helped shape and expand jazz fusion, prog and jazz rock over the last 40 years.

Nucleus (group; formed 1969 - disbanded 1983)

Original Lineup: Ian Carr (trumpet) Chris Speeding (guitar) Brian Smith (sax) Karl Jenkins (electric piano) John Marshall (drums) Jeff Clyne (bass)

Formed surprising around the same time as prog legends King Crimson, Nucleus utilized jazz as their platform for experimentation. Guided by the deft hand of Ian Carr on trumpet, Nucleus would quickly catapult into the public eye through a series of live show culminating at the Montreaux Jazz Festival 1970. Nucleus started as Sextet and will evolve to various sizes over the course of two decades plus. The group would features such future jazz luminaries as Kenny Wheeler (trumpet), Chris Speeding (guitar), Alan Holdsworth (guitar), Tony Levin (drums), Norma Winstone (vocals) among others.

Nucleus could be called one of the British reactions to Miles Davis' series of electric fusion records from 69 - 71 (In A Silent Way, Flies de Kilamajaro, Bitches Brew and Jack Johnson). The mystical, ethereal approach Miles had captured on the aforementioned records seemed to have had some effect of Ian Carr and his fellow band members.

Don't think that Nucleus were just some Joe Zawinul, Herbie Hancock, Wayne Shorter, Chick Corea, Dave Holland, Tony Williams clones. NO! Nucleus took things one step further by fusing and stretching the idea of jazz and rock into a melodic journey with some funky yet highly improvised stops along the way. The music was first and foremost a jazz sextet that beautifully synced up well together. They also had a level of psychedelic brilliance that outside of what was going on in Germany (e.g. Can, Kraftwerk, Neu, Amon Duul) and America (Miles, Headhunters, Mahavishnu, Weather Report) at the time, was completely different in the UK. Also of note, some members would later join the other important British jazz rock band Soft Machine.

Nucleus released its first two albums, Elastic Rock (Vertigo; 1970) and We'll Talk About it Later (Vertigo; 1970) to monumental raves. The blistering work by Speeding on guitar, magical intoxication of Jenkins on keyboards and Carr's mastery on trumpet pull you kicking and screaming into the soundscape they have just constructed. Songs like "Elastic Rock," "1916," "We'll Talk About It Later" and the bombastically funky "Song for a Bearded Lady" are excellent statements of the early era of the band. Definite must listens for fans of Miles Davis, Can, Mahavishnu, et al.

Nucleus would record another 8 albums over the next two decades with various lineups. All of which are quite good and tend to get a little more funky as guitars and keyboards started to dominate the outings. Their is an extremely (and I mean extremely) great but hard to find compilation of their first six album for Vertigo called Direct Hits, that is well worth checking out. I don't have one but I would love a copy if anyone has one (yes, I'm begging).

Recently, there has been a series of live CDs spanning almost each configuration of the bands existence. Obviously the bulk of them cover the 70 - 71 lineup but each is still worth taking a listen. If you can't find these at record stores. I have seen them available for download at Amazon and iTunes. My personal favourites are Hemispheres: Live In Europe 1970/71 (Hux Records). It's got excellent sound quality and features and awesome version of "...Bearded Lady" and a Miles/Hancock scattered funk of "Snakeships Dream".

The other favourite is UK Tour '76 (MLP) is another soundboard recording and features a much later lineup dominated by keyboardist, Geoff Castle, guitarist, Ken Shaw and saxophonist, Bob Bertles, whom all stir up some nice fierce funk throughout this date. UK Tour '76 was recorded at what would be the end of Nucleus as a group (recorded during the tour for their final album Alleycat) as Ian Carr would also assume the Nucleus name more as a solo artist with guest musicians.

Nucleus never wanted to be compared to Miles' bands but fortunately or unfortunately they are. But that should not lessen the opportunity for you to check them out. Nucleus hold a strong place in the development of jazz fusion during the 70s and its important the story is continually told.

The Intersection: Humcrush

Humcrush (group; fromed 2004)
Thomas Stronen (drums, electronics)
Stale Storlokken (guitar, electronics)

Two members of two highly influential Norwegians bands Supersilent and Food join forces with some stellar results. Humcrush utilize a blinding mixture of electronics and jazz improvisation that are extremely inventive. Thomas Stronen's drum work--adventurous, propulsive is the perfect compliment to Storlokken's dark almost evil keyboard brilliance. Between both of their groups they have managed to record three magnificent albums that build upon each other with maximum success. Ethereal in parts and sometimes sounding like a great blend of minimalism and contemporary themes Humcrush is one of my favourite groups of the last few years.

At times a sounding like King Crimson, Amon Duul, David Sylvian/Mick Karn's ambient works and fusion era Miles Davis, Humcrush is a most interesting proposition. Their most recent release Rest At Worlds End (Rune Grammophon) is probably the best place to start. It's technically a live album (recorded over a number dates) but you will never notice as the audience has been striped from the recordings. But Rest At Worlds End is an improvisation miracle. Tunes float and groove with ease and the exchanges between the two musicians in remarkable. The standout track is "Steam" which is funky, technodelic (I've been waiting to use that word) and so hyper-real that you wish you watching it performed live. Rest At Worlds End is melodic and eerie but with a lost of rich textures that will keep the listener captivated throughout. A must listen for everyone and make your own judgement from there.

Supersilent

Supersilent (group; 1997)
Arve Henriksen (trumpet, electronics, drums)
Helge Sten (guitars, electronics)
Ståle Storløkken (keyboards)
Jarle Vespestad (drums)

Deconstructing everything we know about jazz, Norwegian band Supersilent have taken jazz and literally blown it apart and don't seem to want to put it back together. With elements of Miles early '70s fusion work, the dense introspection of Karlhienz Stockhausen and a true belief in "whatever happens on stage or in the studio, happens" improvisation, Supersilent has emerged as one of the most challenging and adventurous bands on the scene today.

Not unlike Australia's The Necks, Supersilent can start off a piece either with sheer cacophony or quiet beauty. Either way, the end results are quite mesmerizing. The band utilize a mixture of both acoustic and electronic instruments to create a densely pack world of soundscapes that would make Miles Davis proud. The band functions as one without a real leader and almost never rehearsal session. There first three albums simply titled 1, 2 and 3 respectively, are packaged together and transmit the same theme of sparse, atmospheric, eclectic adventure. 2 does features some pieces with slightly more song structure or rhythmic patterns but for the most part the albums 1 - 3 are an excursion in sound but well worth the journey.

Album 4 sets a similar course to album 2 with what feels like nods to King Crimson in the way there is a full frontal assault on listener but you it is interesting to hear the subtle nuances through each piece. Albums 5 and 6 are quieter affairs, exploring more of an ambient path with keyboards and electronics more the focus for this outing. There are ethereal moments in which Henriksen's trumpet are audible making for nice transcendent arrangements. Fans of King Crimson, Spring Heel Jack, Jon Hassell, Seefeel and My Bloody Valentine might look to 6 as a nice starter.

Album 7 is actually a live DVD and is worth the money. I have since Supersilent twice and it is truly an experience in sound and order. Albums 8 and 9 maintain the ambient theme but you continue to get a great insight into the group dynamic. Everyone in the band handles electronics so its at times difficult to determine who's playing what but its more about the improvisation and emotional output of Supersilent that finding the individual characteristics.

Each member of the band has their own highly successful solo careers (Arve Henriksen recent release on ECM and Ståle Storløkken in collaboration with Thomas Stronen as Humcrush) when this band gets together to record or perform live it is truly an event. If your taste gravitate to rich, dense sound and experimentation than I highly recommend exploring Supersilent.

David Torn: The Guitar And What's Next

David Torn (guitar, electronics; 1953)

New Yorker David Torn, not unlike Mark Isham, is a jazz musician with uncategorizable talents. He has worked on both jazz, world, rock and film and tv projects consistently throughout his career. His career includes studying under John Abercrombe and Leonard Bernstein. He does have a very deep catalog but unfortunately only a few albums are available. He received significant recognition for his work on the Everyman Band albums during the 80s. The albums that are available are truly phenomenal and worth the purchase, especially if you are a fan of Brian Eno, King Crimson, David Sylvian, Supersilent, et al.

David Torn's style is layered and tempered with ambient elements similar to Nils Petter Molvaer or Michael Brook. His style is subtle and sublime with beautiful combinations of the avant garde, mysticism and traditional jazz. Torn can turn the guitar into a dangerous instrument with elements of prog as highlighted from his latest album Perezens (ECM) with the titled track and its preceding track, "Bulbs". His music can be unsettling to the uninitiated but if you are already used to some of the aforementioned artists and you haven't listened to David Torn yet, Perezens is definitely the place to start.

He has recorded three albums for his current label ECM and Prezens is by far the most realized of the three. There is wonderful work from the rest of the band consisting of New York regulars, Tom Rainey (drums), Craig Taborn (piano) and Tim Berne (sax). The album provides a funky turn of sorts with "Them Buried Standing" which I've always loved. This is usually the point at which if you haven't lost the uninitiated, they might start to enjoy the album. If not, trust me they never will.

Perezens is an album of lovely textual soundscapes and loud cacophonous minimalism. If you dig this, his previous ECM album Cloud About Mercury and Best Laid Plans are well worth seeking out. There is a compilation of his earlier work pre-ECM (both solo and as session member) entitled The David Torn Collection which is good but not very well sequenced. It does show the range and variety of artists and styles he has worked in but I would stick to the ECM recordings for best enjoyment.