Animation: Asiento & Agemo

Animation (group)

Asiento/Agemo (RareNoise Records; 2011)

Bob Belden (sax)

Tim Hagans (trumpet)

DJ Logic (electronics, turntables)

Guy Licata (drums)

Scott Kinsey (keyboards)

Matt Garrison (bass)

There have a been a few Miles electric-era inspired records in the last few years. Spanning Mark Isham, Bill Laswell, and Wadda Leo Smith to name just a few. All of these are excellent records and we've discussed a few in the past. But one group that seems to manage this material better than most is Animation. This sextet was originally formed by Bob Belden and Tim Hagans back in the late '90s where they recorded two exciting albums (Imagination and Re-Animation Live) for Blue Note. Well worth checking out.

As for Asiento, this is a live re-interpretation/reinvention of Bitches Brew that sounds and feels more organic than the two previous Animation albums. The music is exquisitely played and while you may want to immediately compare this with the original Miles Bitches Brew album it really doesn't make a lot of sense. "Pharaoh's Dance" has a trippy-er almost Future Sound Of London or mid-period Orb feel to it.


Each member stands out on multiple levels here. Hagans trumpet is heavier and dense on "Bitches Brew" while being wrapped in some cosmic linear passages from Kinsey and Licata. Belden's performance is killer with some really swirling, psychedelic melody. "Spanish Key" is awesome with a real dose of "drum and bass" which transforms the piece and makes it almost unrecognizable from the original.

Agemo is the expected and well deserved remix of the album over two discs. While the first disc is not drastically different, the mix adds a touch of midtempo range to Asiento versions thanks to the same production company that sound mixed the Orb's Metallic Spheres release. And in the case of "Spanish Key," transform it into a more raucous affair. On "Bitches Brew," Belden, Garrison and Hagans all seem to get a rising emphasis in this mix.


The keyboards were always hauntingly beautiful on the Asiento version but on tracks like "John McLaughlin" they feel very much in tune with the dream-like state of Miles originally conjured up four decades ago. "Miles Runs The Voodoo Down" retains the acid blues vibe it always had. Here it's driven more by Hagans and DJ Logic whom both create a sweet counterpoint that is stunning, screaming out of the stereo as well as the headphones.


The second disc really transforms into something different. Spanning dub, ambient and dance. "Bitches Brew" gets a weird and highly interesting dub reggae beat. "Miles Runs The Voodoo Down" turns into a funky orbital trip psych-out. And "Sanctuary" becomes an even slower hypnotic trance of a piece. Expertly done mixes by the likes of Bill Laswell, Joe Claussell and DJ Logic make Agemo a superior remix album than even Laswell's Panthalassa.

Asiento and Agemo are two seriously deserving documents in the ever-expanding understanding and reinterpretation of Miles Davis' seminal statement. This is a totally different way of thinking about Bitches Brew. Animation have created two albums that stand alone from their originating base work and serve as a groovy introduction to one of the best jazz albums ever recorded.

Miles Davis: Tutu

Miles Davis (trumpet)

Tutu Deluxe Edition (Warner; 2011)

Well, its been a very busy year on the Miles Davis estate front. There have been a slew of official and unofficial releases. All surprisingly with good merit. The latest, a deluxe edition of the the 1986 album, Tutu.


Originally both loved and derided by fans and critics alike, it has somehow stood the test of time. It's not a terrific album by any means but it does show Miles continuing to play with funky/snyth rhythms of the early '80s and trying to carve out a new voice.

On Tutu, his trumpet sounds inspired even while it lacks a little bit of the strength that even the last few Columbia records possessed. The production was crisp and musicianship also pretty sharp (for the '80s). The album marked one of the few moments when Miles would make subtle political statements, hence the tilted, named after Bishop Desmond Tutu. Miles didn't really speak about the political message he was trying to convey; instead keeping the focus on the music. He had only discussed it a few times in interviews.

The album opens with the forceful impact of the blues funk title track. Miles has a soft tone that actually blends well with the synthesizers and thumping basslines provided by the soon to be long relationship with Marcus Miller. One of the best tracks from the session, "Portia" is a sweet ballad which Miles allows the band to move from freely. The drums and percussion provided by Paulinho da Costa are simplified here but complement Miller's Brazilian vibe that the piece captures. As with Miles' expanding venture into pop music, he includes a cover of British pop/alternative band Scritti Politti's "Perfect Way," which is startling (if you already know the original) but still quite affective in this funky jazz arrangement.

The snyth sound that Miles had absorbed on his last few Columbia albums blossoms under the influence of Marcus Miller here. While Tutu obviously doesn't stand up against anything Miles produced prior it is one of the last albums (with the addition of its follow up Amandla) that still retain a rich source of quality instrumentation and organization. 

The deluxe edition of Tutu comes with a bonus CD of live material from the Nice Festival in 1986. This concert is more a stage for the band than it is Miles but its a solid performance nonetheless. A Chicago blues treatment is given to the classic "New Blues" that makes it feel fresh and lively. Roben Ford plays guitar in this octet and feels a lot more steady than John Scofield did a few years prior.

Bob Berg, always superb, standout throughout this evening of hot jazz-funk. His extended solo work on "Maze" is smokin', while Steve Thornton and Felton Crews provide a pounding backbeat on percussion and drums. "Splatch" features some heavy percussion and bass but is offset by Berg and Miles employing some beautiful harmonic work. This concert has some great sound quality and stands up better than the studio album. It's feels like a giant jam session.

The Tutu deluxe edition is well worth whatever you pay for it. An important document in the late and final period of Miles' career. You may feel it's dated from an ideas point of view but if you think about the jazz of that decade you start to realize Tutu was one of few treasured moments. Recommended.

John Coltrane: Live

John Coltrane (sax)

Live At The Jazz Gallery 1960 (RLR; 2011)

McCoy Tyner (piano)

Pete LaRoca (drums)

Steve Davis (bass)

In a similar vein to the Miles Davis Live Europe release, John Coltrane Live At The Jazz Gallery 1960 is a bit of a rare breed. First, there are few live albums from this year. You would normally find dates from '62 onward. Particularly dates when Eric Dolphy was featured in his group. Secondly, Live At The Jazz Gallery was recorded just a few months after Coltrane left the Miles Davis group (shortly after Kind Of Blue).

The quartet is also slightly rare as it was originally a lineup that featured Steve Kuhn (piano) but he left very early on. It would have been interesting to see what the group would have done in the studio had he stayed. In place of Kuhn came what would becoma a long standing relationship with McCoy Tyner.


Jazz Gallery was recorded in June of 1960 and its a weird time period as Coltrane was between albums, having just finished Giant Steps in December of '59 and looking forward into Coltrane's Sound in '60. Working on new material and working with new members.

He was playing live gigs left and right with the Jazz Gallery kind of a standing "extended" run according to all discography information I have looked at. This group featured the brief partnership with Steve Davis and Pete LaRoca. Davis would go on with 'Trane to record Coltrane's Sound and My Favourite Things. LeRoca was replaced by Elvin Jones.

So here we have a document of an extreme moment in time, and recorded actually not too badly. It's not the best sound quality but its better than some of the worst bootlegs you'll hear. 


Coltrane and Tyner quickly seem to meld together and have a unique unity that you could tell would be the foundation for the future. The harmony on "Every Time We Say Goodbye" is something truly beautiful.  "The Night Has A Thousand Eyes" (one of my favourite Trane numbers ever) feel powerful and burst with emotion (even if the sound isn't great). "Body And Soul" has sounded better but you get a nice direction in the styling of both Tyner, Davis and LaRoca who handle the material with a steady calm which is different than some of the other live versions you may have heard.

The highlight as many other who have this disc will tell you is the 30 minute "Liberia". This is a track from Coltrane's Sound which wasn't released until October of 1960, so we get and early incarnation of the this midtempo number. Its a piece in progress and you can feel the group moving in out changes finding where each member works best within the piece. 

As a historical document, Live At The Jazz Gallery is a very important piece in a transitional year for one of thee LEGENDS of jazz. This might only be for the collector but I think even if you are a moderate jazz fan is probably worth owning, just to impress you're friends. For me, this could be my top reissue of the year. HIGHLY RECOMMENDED.

Miles Davis In Europe

Miles Davis (trumpet)

Live In Europe 1967 (Columbia/Legacy; 2011)

Herbie Hancock (piano)

Wayne Shorter (sax)

Ron Carter (bass)

Tony Williams (drums)

For many jazz fans we own a gazillion Miles Davis live albums (official and unofficial). But every once in awhile I like to mention a few that are must haves. Live In Europe 1967 is definitely one of them. This is a boxed set of a series of unofficial recordings (aka bootlegs) that have been on the market for years. I own two of the three included in the box already but on this first legitimate release we get a little clearer sound quality.

The really cool thing about this is that while there is a plethora of live albums involving Miles' electric period and a few with Coltrane, this quintet doesn't always get recognized despite the legendary names it includes. The quintet features a scintillating Wayne Shorter who had only recently joined the group after the short tint of fellow great George Coleman, on sax. This is the same quintet that recorded E.S.P., Miles Smiles, Sorcerer and Nefertiti. All albums that would lead up to Flies Of Kilimanjaro and of course In A Silent Way.

This was a fertile and prolific period for Miles and each of his band members. There are some fierce renditions of "All Blues" and "Footprints" where Wayne Shorter and Tony Williams are in blistering form. These were true "young lions" quickly becoming the benchmark for jazz to come. Miles sounds happy and inspired by his companions. His playing is crisp and sharp and at times free flowing. These tunes played on this date don't completely shed light on what would come only a few years later but you do get a sense of Miles thinking more about the freedom of space for his members to create within. "Masqualero" played at each of the three nights in this box is intense and has an aggression that pulls the listener in with each note. Shorter, Hancock and Miles drill you into a meditative mood with great ease.

The dates recorded here find a group that was in fine form and played with exquisite speed and beauty. And while some may ask, why do I need to buy another Miles record? Well the short answer is, because its Miles silly. But seriously, Live In Europe 1967 really did deserve an official treatment and release. The accompanying DVD of live footage also adds to how great this quintet was. And surprisingly the box is reasonably priced making it affordable for collectors and those wanted to investigate a different side of Miles live. You can also check out some of JazzWraps other thoughts on great Miles Davis live albums here.

Wadada Leo Smith: Heart's Reflection

Wadada Leo Smith's Organic (trumpet)

Heart's Reflections (Cuneiform Records; 2011)

A real propagator of intense, creative sound sculpture, Wadada Leo Smith has been challenging how we experience music for over four decades and over 30+ albums.


He has become one of the most revered elder statesmen of jazz as well as an educator and theorist. He developed a compositional style he called Ankrasmation. It is a theory in which sound relies more on graphic notation than musical notes. This is something that may lend itself more to free jazz than contemporary jazz. And while it may sounds like it's free/avant garde it actually has a lot of melody and direction which may shock even the most novice jazz fan.

Smith's style, especially in recent years has been compared to fusion era (e.g. Big Fun) Miles Davis but where Miles was still molding funk and jazz, Smith has taken those ideas one step further. As we discussed in our piece on Smith/Kaiser's Yo Miles series, the music is funky, anarchistic and forward-looking. Wadada Leo Smith's newest album with one of his three main groups Organic, is entitled Heart's Reflection. It's a blues/funk influenced work that spans two discs but also is probably one of the best and exciting records from Smith in years.

Upon first listen to the lengthy but vibrant opening track "Don Cherry's Electric Sonic Garden", Smith details a groove that is both funky, exploratory and filled with improvised moments. His group Organic uses of electronics, guitars and piano give the album an out of this world vibe (in vein of Sun Ra). But Smith keeps the groove in flow and you may not even notice you've been bobbing your head for twenty minutes. "The Black Hole" hearkens back to Organic's previous set called Spiritual Dimensions which has much more of an experimental, free flowing feel to it. There are guitars, drums, piano and percussion all in point/counterpoint but still somehow remaining in rhythm. Smith's playing is superb throughout. He really allows the ensemble to move freely and without warning. "The Black Hole" is enveloping and expansive. It's driving force is more the rest of ensemble than Smith himself and that is always the sign of a great leader.

"The Majestic Way" and "Certainty" both have moments where not only Smith but his bandmates (in particular, Angelica Sanchez (electric piano), Josh Gerowitz (guitar) and Pheeroan AkLaff (drums)) really move into interstellar regions with their performances. It's funky in a Big Fun, Bitches Brew kind of way but still wholly original. Sanchez's performance on "Certainty" is deep and swirling with Hancock-esque quality. Great stuff.

Heart's Reflection is one of those secret weapons in an artist's arsenal that very few people may hear about. In the vast catalogue of Wadada Leo Smith, Heart's Reflection is an album that deserves your undivided attention.

HAPPY BIRTHDAY MILES DAVIS

Miles Davis (trumpet)
May 26, 1926 - September 28, 1991

May 26th is Miles Davis' birthday. Now I'm not going to go into a big long story about how great he is and the history. I believe you can get that from any site today.

I thought it would be good to give a short list of past pieces we've done on Miles Davis over the last few years.


It's not an all encompassing list but I think it covers some essential albums and collections that would be great for the uninitiated or even the collector in this age of digital music storage.

So as you spend the next couple of days reading articles about Miles here's what you might want to consider the next time you go to the record store.


L'Ascenseur pour l'echafaud
Kind Of Blue
Live In Stockholm
Bitches Brew Live
The Columbia Years
Decoy
Doo Bop


And check out the videos we found as a bit of prove on why Miles Davis is so important.

Yo Miles! More Than Just A Tribute...

Wadada Leo Smith (trumpet) / Henry Kaiser (guitar)

Yo Miles: Lightning (Three Records)

Yo Miles: Shinjuku (Three Records)

Originally released between 1998 - 2003, these two live recordings (a collection of tracks from albums Sky Garden, Upriver and Yo Miles) and were celebrated and derided within the avant garde jazz circle. Yo Miles was a series of three albums dedicated to the music of Miles Davis' 70s electric era material.

The albums might have gotten overlooked due to the plethora of Miles material that came out at the time (official reissues) and the Bill Laswell project Panthelasa (a Miles Davis remix album). I personally wasn't a big fan of the Laswell project although it has grown on me over the years. Yo Miles on the other hand, follows a different path. Smith and Kaiser assembled an all star line up including Zakir Hussain, Rova Sax Quartet, John Medeski, Elliot Sharp, Nels Cline, among many others to construct a dazzling collection of re-imagined versions of that era which breath new life into the already psychedelic, rock and funk monolith that Miles built over three decades ago.

Lighting and Shinjuku were two of the four releases that focused more on original material from both Smith and Kaiser. What's so amazing is, that the songs would easily sound at home on any Miles album from that era--especially Bitches Brew, Agharta, Pangea or Live Evil. "Cozy Pete," "Thunder & Lightning" and "Miles Davis--Great Ancestor" all exhibit that deep exploration for new sounds, rhythms, patterns and a direction that Miles was achieving with his epic albums of the time.

Kaiser and Smith seem like kindred spirits here. They along with the entire ensemble of musicians develop a synergy throughout the session that melds into one unified theme. You do get a spiritual vibe from these songs especially "Muhammad Ali," "Tsapiky Frelimo" and the all out assault of "Shinjuku" which could give Agharta and some of the tracks from On The Corner a real run for their money.

These two editions of the Yo Miles series originally came out on the label Cuneiform and almost as quickly as they were released they label folded. So these two records now go for a slightly hefty price tag if you can find them. Some stores like Downtown Music Gallery in New York City still have physical copies at a very inexpensive price.

Now in our digital age Yo Miles! Lightning and Yo Miles! Shinjuku albums are only available as downloads (you can find them on iTunes) but they are still potent and worth seeking out. Wadada Leo Smith and Henry Kaiser created a series which now after a decade is finally being truly understood (along with Miles' material 3 decades early) and you should investigate these two records fully. It's extraordinary and keeps to the spirit of what Miles had perfected. A beauty tribute that stands solely on its on a separate work altogether. Enjoyable again.

Miles Davis Live

Miles Davis (trumpet)
Bitches Brew Live (Columbia/Legacy; 2011)
Chick Corea (electric piano)
Jack DeJonette (drums)
Dave Holland (bass)
Gary Bartz (sax)
Keith Jarrett (organ)
Airto Moreira (percussion)

Well, its always easy to talk about Miles Davis here at JazzWrap, this week sees the release of another Miles Davis document--Bitches Brew Live (Columbia/Legacy). While there is a plethora of live Miles material out there, its probably pretty tough to decide what to get. There are definitely some excellent "unofficial" live albums available--particularly from the Lone Hill and Gambit labels which if you find them--buy them. But you should put Bitches Brew on your list of Miles albums to pick up because it ranks up there as one of the best Miles live albums out there "official" and "unofficial".

Bitches Brew Live contains two dates, one prior to the release of the seminal album and one during the following summer (July 1969 and August 1970). This set is different than last years Bitches Brew deluxe edition which included a live disc recorded in Copenhagen. Bitches Brew Live features material from the Newport Jazz Festival and the legendary Isle of Wight Festival. The Newport set only features a quartet including Chick Corea (electric piano), Dave Holland (bass) and Jack DeJohnette (drums). Wayne Shorter (sax) was supposed to make up a quintet but according to the story he was stuck in traffic on the way to gig.

The performance here is incredible to hear with just Miles as the horn sections along with funky, swirling and psychedelic rhythm section. They plow through a brief ten minute version of "Miles Runs The Voodoo Down" in addition to the "Sanctuary," and "Its About Time", all with fierce accuracy. This was only a few weeks before Miles would go into the studio with his full twelve piece ensemble to record the groundbreaking album.

The second set recorded in the following summer after the release features that ensemble. This was kind of like Dylan going electric. While Miles had already starting thinking and utilizing electric in his performances this was sort of the coming out party that would make the ultimate statement to his current and new found audiences. Right from the start with "Directions" and "Bitches Brew" Miles and company get to the point that this was going to be a funky, raucous and adventurous affair. This version of "Bitches Brew" flows through some lovely Far East spiritual moments midway through that for me make it one of the highlights of that touring period. "Spanish Key" was always a soulful piece but the solo work from Gary Bartz on sax and how he leads the group is unbelievable. This becomes full throttle when Miles joins back in towards the end.

The rock influence shows definitely explodes during this concert and that makes Bitches Brew Live well worth picking up. Unlike the later live albums Miles would record during the 70s this year of show is probably the most focused and cohesive even for the non-Miles-fusion era fan. A real treat for everyone listening.

Further Recommended Miles Live Albums

Live at Pasadena Civic Auditorium '56 (second disc of Round Midnight deluxe edition on Columbia/Legacy)
Live In Stockholm '60 (With Sonny Stitt and John Coltrane on Dragon Records)
At Carnegie Hall '61 (Columbia/Legacy)
Live In Berlin '64 (Columbia/Legacy)
Winter In Europe '67 (Gambit)
In Concert at Philharmonic Hall '72 (Columbia/Legacy)
Agharta '75 (Columbia/Legacy)
Live In Poland '83 (Gambit)
Live At Montreux ,91 (Warners)

Jazz On Sunday: Miles Davis

Miles Davis (trumpet; b. 1926 - d. 1991)
The Columbia Years 1955-1985 (Columbia/Legacy)

So this is a short entry today. I had been thinking as we head into the holiday season and people start thinking about gifts to give others---why not think about what you want. You deserve it. Right? RIGHT!

An album I've been listening to a lot lately is Miles Davis: The Columbia Years 1955 - 1985. This four disc boxed set usually gets lost in the discussion of Miles' boxed sets and other multitudes of Miles Davis collections. The reason being, because all of the most recent boxed sets have been extremely focused on particular periods or styles of the great legend's music (e.g. Bitches Brew, John Coltrane and Miles Davis, Silent Way, etc.).

There has also been a very nicely curated The Essential Miles Davis (Legacy Recordings), a 2 disc set, that covers the most significant moments spanning his entire career with the labels OJC, Prestige, Fontana, Columbia and Warner Bros. While this is a perfect gift for any Miles newcomer or all around jazz newcomer, I think The Columbia Years still deserves a place on someone's shelves this year. If not as a gift, be stingy and get it for yourself.

The Columbia Years represents the best of Miles material and is pretty comprehensive in what was chosen for the set. You get one of the earliest tracks, "Generique" from a little known label Jazz Track (which also served as the soundtrack for French film Elevator To The Scaffold). The iconic "So What" from the best jazz album in history Kind Of Blue to "Flies Of Kilimanjaro," "Miles Runs The Voodoo Down," to "What It Is" from one of the later albums Decoy.

This definitely is a set covering an extensive amount of Miles material during his most prolific period and may be too much for some newcomers, but I think you may also be able to find this boxed set pretty cheaply now due to the aforementioned boxes being available now.

The Columbia Years boxed set is divided into five sections over four discs: 1) Blues based material. 2) Standards. 3) Miles' original material. 4) Mood or atmospherics and lastly 5) Electric Fusion.

The other significance of The Columbia Years was that this was the very first ever boxed set of Miles Davis material. It was released on vinyl, cassette (yes cassette) and CD. At this point in 1988 there were absolutely no boxed sets out for jazz artists so this was a big deal.

I, for some nostalgic reason, always gravitate to this box when I have company over or when I just want a nice long dose of Miles for a Sunday afternoon. So if you are thinking of being a greedy little pig this holiday season let me recommend Miles Davis: The Columbia Years 1955-1985 as something well worth your schilling. Enjoy...

Miles Davis: Bitches Brew (Legacy Edition)

Miles Davis
Bitches Brew (Legacy Edition)

So there isn't much else I can really say about Bitches Brew that we haven't discussed before. The real reason for today's entry is the fact that the most recently released editions of Bitches Brew (Deluxe Edition with all the bells and whistles at a hefty price or the Legacy Edition at a much more consumer friendly entry point) is well worth the purchase for Miles Davis fans.

The Bitches Brew (Legacy Edition) features the original album as well a second disc of outtakes and single edited version. Technically this really only for the die-hard collector. The versions aren't drastically different except for length (i.e. edited single versions). The real treat here is the DVD Live In Copenhagen 1969. The audio for this gig has been widely bootlegged in recent years but there's a reason for it--it's fantastic!

While the album session features a huge 12 member ensemble recorded in August of '69, the live recording is much more scaled down lean quintet. This November performance came a few months before the actual release of the album in 1970. You get a completely different experience with the performances from this smaller group featuring Wayne Shorter (sax), Chick Corea (electric piano), Jack DeJohnette (drums) and Dave Holland (bass). The songs are also not the same album length as evident of "Bitches Brew" and "Miles Runs The Voodoo Down." It's a slightly more intimate performance but still packs the fierce impact on the senses.

Each member is fine form throughout. Chick Corea really shines with some amazingly hypnotic doodling ("Bitches Brew"). This swirling synthesis is melded with Wayne Shorter's always omnipresent lyrical work on the saxophone (especially on "Agitation"). And there is a final moment on "It's About Time" that Dave Holland shows why he is one most creative bass player alive today. Miles is superb form as the group does truly explore new directions in music. This is a performance that was probably extremely experimental when it was performed but today it really will leave you in awe of what these legends did as a small group compared to massive scale they performed just a few months earlier in the studio.

If you already own Bitches Brew is going to be a tough call on buying this again but I have to say if you can spare the extra 12 - 14 Euros, its well worth it. If you don't own Bitches Brew this is a great way to get two incredible powerful performances from both the ensemble and the smaller quintet in one quick swoop. Highly Recommended.

Enrico Rava: Italian Style

Enrico Rava (trumpet; b. 1939)

Enrico Rava's career spans over four decades and almost ever continent. Highly influenced by Miles Davis and Chet Baker, Rava has played with a long list of luminaries including, Don Cherry, Carla Bley, Roswell Rudd, Steve Lacy, Archie Shepp among others. His thick tones are both lush and bold, allowing the listener to become fully engaged in the melody.

For me he is one of the few trumpeters who has consistently has recorded excellent material throughout his career. I'm not saying there isn't a bad record in his over 40 album discography but you will be had pressed to be disappointed by even his weakest album (which ever one that my be). Rava toured with Steve Lacy during the late sixties which began to shape his style and performance.

Rava's earlier recordings are more in the European Free Jazz mode. But these are not necessarily "Free Jazz" in the Ornette Coleman or Don Cherry sense. Rava's style is rhythmic, emotional and leveled, that even the newest person to jazz would find it inviting. He has unique way of balance space and structure in his recordings that has always been something I've gravitated to time and time again. Rava's work in the 80s become much more structured and he gave more freedom to his follow band members which is still true today although his recent albums are also much more intimate.

Most of Enrico Rava's albums are surprisingly readily available either online or your local record store. I would say that his most recent quintet recording New York Days (ECM; 2009) is definitely the best place to start for anyone just getting into Enrico Rava. New York Days is both an adventurous impressionist journey as well as a relaxed midtempo excursion into a highly gifted set of musicians.

The quintet included seasoned and future legends; Paul Motian (drums), Mark Turner (sax) Larry Grenadier (bass) and Stefano Bollani (piano), each in their own right have become enormously respected musicians around the globe. Bollani and Motian have worked with Rava on numerous occasions and their performances here demonstrate a deep understanding the men must have as apparent on the lengthy "Certi Angoli Sergerti" which has some rich beautiful lyricism throughout.

Mark Turner and Larry Grenadier show their versatility and emotional depth on "Lulu" and "Outsider" respectfully. Both musicians develop a dialog with Rava is delicate and highly functional for this to be the first meeting in a studio setting. New York Days is a composed yet free flowing work that illustrates a whole range of talent among the musicians. It is also the lyrical piece of genius that Rava has conjured into existence that I believe in enjoyable amongst his most devoted fans like me as well anyone hearing him for the first time.

Some other essential Enrico Rava:

Il giro del giorno in 80 Mondi (Black Saint)
The Pilgrim And The Stars (ECM)
Rava String Band (Soul Note)
Plays Miles Davis (Label Bleu)
Easy Living (ECM)

Lee Konitz: Live At The Village Vanguard

Lee Konitz & Minsarah (sax; b. 1937)
Live At The Village Vanguard (Enja Records)
Jeff Denson (bass)
Florian Weber (piano)
Ziv Ravitz (drums)

Lee Konitz has been one of the most prolific saxophonists of the last two decades. He has performed with fellow luminaries as Miles Davis (on the legendary Birth Of The Cool album), Gerry Mulligan, Jimmy Giuffre, Lenny Tristano and widely known for his partnership with fellow sax great, Wayne Marsh. He has also worked a wide range of new jazz greats such as Brad Mehldau and Mark Turner. The Chicago native was originally influenced by Benny Goodman (clarinet) before turning his sights on playing saxophone.

Lee Konitz is one those few musicians who can play flawlessly in any setting (ensemble, orchestra, small group, solo). His style has always been describe by the often overused moniker " the Cool" referring to the smooth style that Miles Davis is associated with on the aforementioned album. But Konitz was more than that. He can play it "Cool" but he can also distribute blistering attacks on the horn is very subtle ways. His ability to improvise The essential Konitz album is Motion (Verve; 1961) with Elvin Jones and Sonny Dallas. Motion is a killer set of originals and improvising mastery.

More recently his has recorded with some new up and coming European artists such as guitarist, Jakob Bro and Konitz's new quartet consisting of the trio Minsarah.

Konitz recorded a 2008 debut with Minsarah entitled Deep-Lee (Enja) which is a truly sublime and another must. The quartets most recent set is Live At The Village Vanguard (Enja) as it also doesn't disappoint. In Minsarah, Konitz has found a European trio and complements and integrate smoothly with his ability shifting tempos. Live At The Village Vanguard is definitely a group is prime form. Konitz allows the group to really stretch out on Johnny Mercer standard "I Remember You" which Denson and Weber are smokin' to high appreciation of the audience.

Lee show is subtle bebop touch on the self-penned "Subconscious-Lee" with expert interplay from he rhythm section. Konitz again allows the group free reign on Florian Weber's piece "Color" which is a mid-tempo number that builds to joyous conclusion. Konitz rejoins the groups on "Kary's Trance" an original which builds slowly into some fierce phrasing from Konitz and Weber that really tells you this group gets along so well.

Live At The Village Vanguard is definitely a new chapter for Konitz. I personally hope this quartet stays together for awhile because I think they can reach some new heights and really stamp a significant mark on today's scene. Highly Recommended.

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: Jon Hassell

The Intersection is an occasional feature on JazzWrap that looks at artists that blend jazz with electronica (a tradition pioneered by none other than Miles Davis on such classic recordings as On The Corner and Bitches Brew).

Jon Hassell (trumpet; electronics)

There is no mistaking Jon Hassell for anyone else. His electronically treated trumpet sounds at times reptilian, but also like a desert wind through a narrow canyon. No other trumpet player sounds quite as primal as Hassell. He's tapped into something beyond our pedestrian notions of "ethnic" and "exotic". He's gone native, but you'd be hard pressed to say definitively what culture it is. Sure, there are tell-tale Javanese gamelan-isms and Afro-beat stutter steps, but there's nothin conventional about any of it. It's just Hassell.

But it's not just Hassell's trumpet that sound utterly otherworldly, its the rhythms and atmospherics surrounding it as well. The skittering percussion and pulsating synth textures overlap and interweave like a tapestry of a design indecipherable as it flutters in the gusts of his alien horn blasts.

Hassell, if you were hitherto unaware, is the avant-garde trumpeter best known for creating what he calls Fourth World music, an amalgamation of ethnic and contemporary classical musics. His sound is somewhat reminiscent of Miles Davis's Stockhausian moments during his early '70s fusion period, and while Hassell's muted tones deliver fragmented phrases much like Miles during that protean period, the similarity is superficial at best. While Miles was clearly tapping into his African heritage (as well as American funk) on albums like Agharta and Pangaea, Hassell is embracing something without clear borders. Don't get me wrong -- Miles' electric period is some deep shit -- but Hassell is into something deep and mysterious.

And yet... I can't help but associate various Hassell's albums with the work of other artists, specifically writers. Listen to Possible Musics, his 1980 collaboration with Brian Eno, while reading J.G. Ballard's early environmental disaster novels (The Drowned World, The Crystal World) and you'll swear it was recorded for that purpose. Listen to his 1986 album Power Spot while reading just about anything by Paul Bowles (The Sheltering Sky, The Delicate Prey) and you will be convinced that Hassell was reading about expatriates living and dying in Morocco while recording it.

Best of all, Hassell keeps making music true to his original vision. If you haven't discovered his "fourth world" yet, you owe it to yourself to do so... and while you're at it pick up the works of Paul Bowles and J.G. Ballard. You may find yourself wanting the test my theories for yourself.

Great Live Albums: Dave Douglas

Dave Douglas (trumpet; coronet; b. 1963)

Live At The Jazz Standard (Greenleaf Music, 2006)

Uri Caine (fender rhodes)

Donny McCaslin (sax)

James Genus (bass)

Clarence Penn (drums)

New York mainstay, Dave Douglas is one my favourite trumpeters of the current generation. He is arguably in the handful of musicians who are consistently making challenging and diverse music year after year. Many of my friends feel for this reason he really isn't that creative or originally. Some have said he's like Bowie or Madonna--a chameleon--who becomes whatever their attached to at the moment. Well that might be a good analogy, I think with all three they end up producing some amazing material with whatever might interest them at the moment. And you can't say that about most musicians from any genre currently.

Dave Douglas has worked in various settings; ensembles, quintets, quartets and big bands. He is also a member of another of another New York native, John Zorn's Masada, who are consistently performing and releasing stellar material that confounds critics and listeners alike.

One of the best things I've always enjoyed about Dave Douglas is his live performances. And nowhere else is the originality and technique more apparent than when his quintet performed a six night residency at another one of my favourite jazz clubs in 2006, The Jazz Standard in NYC. I was only in attendance at one date but over the span of six night Douglas debuted new material as well performed critical tracks from a series of albums during that time (The Infinite, Strange Liberation and Meaning and Mystery).

The entire residency was recorded and released as downloads only his own label website, Greeleaf Music, but they later released a 2 disc set that is perfect for the casual fan. Live At The Jazz Standard (Greanleaf Music) is in essence a new album since it features mostly the new material that Douglas had been working on and performing during the residency.

This a group that Douglas has been working with for years so their interaction is impeccable. One of the other amazing things about this set is that Douglas chose to perform on cornet which for the non jazz listens may not make a difference but it what it essential does in this setting is allow the rest of the band to come to forefront.The work by longtime collaborator, Uri Caine (organ) is fantastic and some of the solo work from both Douglas and Donny McCaslin (sax) is truly delirious. These recordings will have going back forth from your Miles electric era to Dave Douglas albums all weekend long.

While most of the tracks will hark back to that golden era of Bitches Brew, Silent Way and Jack Johnson there is no denying that Douglas carves his own stone with songs like "Navigations," "Indian Point," "Seth Thomas," and the lovely blues-inflected "Leaving Autumn". Live At The Jazz Standard also features what is becoming a standard for Douglas "A Single Sky"-- an expansive piece that he has done is various incarnation, more recently on his big band album entitled A Single Sky (Greenleaf Music).
 
Live At The Jazz Standard is funky, blissful, cerebral and smoothly effective. Dave Douglas is one of the few musicians who can absorb themes and truly create something new and original every single time out. While I would advise die hard jazz fans to download all the dates (definitely expensive--I hope you have a job), everyone else should for sure check out the two disc version of Live At The Jazz Standard for a musician who continues to push jazz forward.

Guitar Week: John McLaughlin

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

John McLaughlin (guitar; b. 1942)

The Essential John McLaughlin (Columbia/Legacy)

One the most technically brilliant guitarists of the last 50 years, John McLaughlin has shown the ability to move throughout the sub-genres of jazz but always reminding us that his style of fusion is always evolving. You may only know the name John McLaughlin but I assure you, you've heard his playing. I have to admit during my youth I really didn't give McLaughlin that much attention outside of his work with Miles Davis. I think I just wasn't ready for his diverse interests and ability to play at breakneck speed.

As a youngster, the British born, McLaughlin performed with the legends Georgie Fame, Ginger Baker and Brian Auger before moving to the U.S. and working in Tony Williams Lifetime band in addition to making some of most challenging and legendary recordings with Miles Davis (Bitches Brew, In A Silent Way and A Tribute To Jack Johnson). He would also record two phenomenal solo albums during this short period of 1969 - 1970. Along with solo albums McLaughlin would go on to from two incredible and influential fusion bands during the 70s in Mahavishnu Orchestra and Shakti which focus of the blistering combinations of jazz & rock from the former and a well focused Indian influence of the latter.

These groups and recording are definitely on par with other highly important fusion bands of the time period, Nucleus, Return To Forever and Weather Report. McLaughlin with every record since has shown the ability to go from gentle acoustic strumming to fiery eclecticism on electric guitar with astounding degrees. Some other important recordings were done with Carlos Santana, Chick Corea and the amazing trio Trio Of Doom (with Tony Williams and Jaco Pastorius). Trio Of Doom (Columbia) recorded one album but it is one of most important albums of 70s fusion and you must own it. In the 80s and 90s he would team with various musicians including Al de Meola and Paco de Lucia for a series of great acoustic sets.

A large chuck of the aforementioned and more are included on The Essential John McLaughlin (Columbia/Legacy). The Essential John McLaughlin contains almost everything you will need to understand this extraordinary guitarist and his genre-bending talent. He has blending Eastern and Western themes with rich technique and ingenuity that many other musicians just cannot match. This is very clear on tracks like "India," "Marbles," "A Love Supreme (with Carlos Santana)" and "Wayne's Way." For me this is a great overview/introduction to learning more about McLaughlin and all the various groups he has performed in as well as his solo material.

John McLaughlin's most recent album, To The One (Abstarct Logix) with his new band 4th Dimension is no different. It continues his wonderful ability of spellbinding guitar work with stunning interplay with his new band members who have been touring with him for the last four years. The album moves fierce opener of "Discovery" through the mid tempo rhythms of "Special Beings," and "Lost And Found" only to return with the high energy of "Recovery". This is an album that continues the East/West legacy he has paved for five decades with even more amazing results then recent recordings.

Someone with such a large and diverse catalog, The Essential John McLaughlin and To The One does a great job of summing up the best moments of his illustrious career in addition to providing a good understanding of fusion (outside of the Miles Davis material) this is a nice place to start.