Keefe Jackson: The Future Of Chicago?

Keefe Jackson (sax)

Keefe Jackson, a native of Arkansas, is slowing becoming a major force in the ever-evolving Chicago Free Jazz scene. A combination of complex and complete compositions and bold well-rounded playing is making a lot of people outside of Chicago stand up and take notice.

As discussed here at JazzWrap many a time, the Chicago Jazz scene is a breeding ground for some of the most solid, hard framed improvisational jazz coming out of the U.S. Yes, many New Yorkers would argue this point but I'm moving forward with my statement.

Keefe Jackson was already a well toned musician by the time he arrived in Chicago in 2001. But his association and contributions to such local groups as Chicago Luzern Exchange, Lucky 7s, Fast Citizens and the Josh Berman Quintet really established his credibility within the scene. In a town where Ken Vandermark looms large, it probably is extremely hard to break out from the presence. Keefe Jackson is doing just that. Not by following the same avant garde path as Vandermark but creating a rich base of post bop sensibility filled with forward-thinking lyricism.

While I do recommend any of the albums by the above mentioned groups (definitely Josh Berman and Lucky 7s), I want to really focus on the three albums Keefe Jackson has made as leader. These all show a progression to imploding convention of free jazz and resurrecting it in a cohesive exploration of free ideas. Ideas which many listeners will find challenging but highly rewarding.

Ready Everybody (Delmark; 2006) is a fantastic debut as leader by Jackson. The album is actually under the title, Keefe Jackson's Fast Citizens (named after the collective which the musicians belong to). The opening number "Ready Everybody" travels some similar territory as Atlantic era Ornette Coleman or Charles Mingus but with a very playful nature wrapped by some illuminating song structure and phrasing from Jackson.

"Signs" is haunting piece with some fabulous distortion work from Fred Lonberg-Holm (cello) and additional brilliance by both Josh Berman (trumpet) and Anton Hatwich (bass). Frank Rosaly, whose omnipresent drum work can be found on many Chicago jazz albums is superb here as well as the rest of this session. "Saying Yes" is a number where Jackson, Berman and Aram Shelton (alto sax) have some seriously delicious interplay that is both rhythmic as well as inventive.

While Fast Citizens documents a collective that has become a truly cohesive force on the music scene; it also shines light on creative writing of Jackson. This idea is moved forward on Jackson's second release as leader, Just Like This (Delmark; 2007). Just Like This is a massive 12 piece brass/woodwind ensemble that takes starts in foundation on themes of Ellington, Armstrong and other large swing ensembles and injects them with a large dose of Chicago improvisation.

The group includes such Chicago luminaries as Jeb Bishop (trombone), James Falzone (clarinet), Dave Rempis (alto sax) and more. A beautiful exchange expression and melodies moves throughout Just Like This, giving the listener a real sense of depth and freedom by this group Jackson has constructed.

"Dragon Fly", a funky, avant garde yet mid-tempo opener fills the airwaves with its complex arrangements and chord changes but shows a real sense of unity amongst the many players. There's a lot going on here but you are captivated by the varying passages and performances. The title track, "Just Like This" is another mid-tempo gem filled with hard hitting moments of colour by Jackson and clarinet/cornet section (including Berman again in this session).

A real standout here is "Wind Up Toy" written by drummer Frank Rosaly is a tempo shifting ride that feels like elements of crime jazz, swing and avant garde put through the mixer and coming out as an exquisite sundae delight. Just Like This may have Ellingtonian touches but also paints a Jackson Pollack-esque picture with Jimmy Giuffre and Ornette Coleman type brushes.

In 2010, Keefe Jackson returned with the magnificent Seeing You See (Clean Feed Records). Here Jackson pairs things down to a quartet featuring regular collaborators Noritaka Tanaka (drums), Jason Roebke (bass) and Jeb Bishop (trombone). Jackson and Bishop play point/counterpoint throughout Seeing You See with beautiful results. "If You Were" is a great example of their scintillating stylistic duel. This is aided by the subtle rhythms of Roebke and crisping (Billy Higgins-like) timing of Tanaka.

With the previous two albums exploring various themes and influences, Seeing You See approaches things from a slightly straight-forward free form of ideas and utilization of space. For me it's like listening to Giuffre's Free Fall. This is especially evident on "How-A-Low" a downtempo blues where the quartet maneuvers with gentle grace and beauty.

"Seeing You See" is rich with space and tonal structures that get bent in different directions by Roebke during a solo midway through the piece. The proceedings get jumping (slightly) with "Turns To Everything" where the group becomes one force of sound-in-rhythm with ripping chord changes and patterns that better experienced on headphones. "Word Made Flesh" a fierce composition which Frank Rosaly and Jackson have done as a duo previously, sounds even more venomous as a quartet.

"Close" silently takes you through a final journey a spacious undertones. This is led by Roebke's delicate bass lines and some wonderful and haunting movement from Bishop and Jackson (on bass clarinet) combined. Seeing You See really shows how Keefee Jackson has grown as a musician and more importantly a leader and composer.

Listening to the progression not just over these three records but over the course of the last decade in various groups encapsulates how significance Keefe Jackson has had on the Chicago scene. Among the new breed of Chicago improvisers, Keefe Jackson is becoming as prominent and as important as Ken Vandermark was a decade earlier. Keefe Jackson is a talent that everyone needs to start following if you haven't already. Start with the Delmark releases and then move forward to Seeing You See.

Celebrating Marion Brown

Marion Brown (sax; b. Sep. 8, 1935 - October 25, 2010)
Three For Shepp (Impulse)

Today we celebrate the highly under appreciated saxophonist, Marion Brown who passed away on Monday. This is an entry I did a few weeks ago but I wanted to share it again for those you may not have had a chance to explore the music of Marion Brown.

Marion Brown embodied a lovely, soft tone on alto sax. Many jazz fans will know his work on John Coltrane's Ascension but Brown's own work much more understated. He didn't necessarily fit into the free jazz realm as much as his contemporaries.

Born in Atlanta, he moved to New York in the late 60s when later he would join Coltrane on the aforementioned Ascension. Brown would develop an extensive body of work from '65 - '71 that was both conservative and free form. While his work on Ascension and some later albums for both ESP and Fontana were high intensity and bold statements of intent, his overall tone was more empathic. Over the course of his career Marion Brown has worked with Mal Waldron, Anthony Braxton, Andrew Cyrille and even Jon Hassell.

My personal favourite and probably the one most critics would pick as the best representation of his work is Three For Shepp (Impulse; 1966). Three For Shepp is a tribute to his friend and musical partnership with saxophonist, Archie Shepp--who in addition to Ornette Coleman was a major influence on Brown. They had both played on Ascension and also worked on each others albums while both were signed for Impulse Records. The albums six tracks are divided into three Shepp compositions and three written by Brown. Three For Shepp is a classic document of the free jazz period with a bright mixture of tones and structure that runs the gamut of blues, Latin and swing wrapped in a swirling African motifs.

Brown's own "Fortunato" and Shepp's "Spooks" are powerful statements of his talent and distinct vision that make Three For Shepp an adventurous and frenzy outing. While there are other free jazz albums from this period that made a significant and longstanding statement of jazz history, Three For Shepp is one of the unheralded masterpieces that needs to be re-examined and rediscovered by a new generation.

For the last few decades Marion Brown has been a teacher of jazz and very very rarely performing as a session member. He has had several illnesses in recent years but he is still moving along. Today is his birthday and you should do yourself a favour in the next few hours, days and weeks and seek out one of his records. Take a listen for yourself. You won't be disappointed by Marion Brown.

Atomic: Theater Tilters

Atomic (group; formed 2000)
Theater Tilters (Jazzland; 2010)

Fredrik Ljungkvist (sax; clarinet)
Magnus Broo (trumpet)
Havard Wiik (piano)
Ingebrigt Haker Flaten (bass)
Paal Nilssen-Love (drums)

Atomic along with The Vandermark 5 are probably the two most important free jazz groups around today. The similarities are obvious. Each has a unique sound world that embraces both structure and freedom. But in the case of Atomic, the Swedish/Norwegian quintet utilizes a little more subtle melody, thanks to the inclusion of Havard Wiik on piano.

Theater Tilters is the groups second live album (a two disc set) and as with the first live (included in the three disc set Retrograde from 2008), Atomic prove they are growing increasingly innovative and versatile. The album was recorded over two night in October of last year.

Theater Tilters opens on a lovely violent and discordant note of "Green Mill Tilter" (possibly named after the famous Chicago jazz club) and never lets up. "Green Mill Titler" slides into a groove led by Wiik and Haker-Flaten and some battling between horns and drums. And then all-stop. We are then treated to probably the most melody friendly track of the proceedings "Andersonville" which sees Fredrik Ljungkvist leading the way on clarinet. This is a wonder piece with nice balance of free jazz and almost classical themes. It's a tasty piece of work and also the longest track over both discs. "Bop About" (originally featured on the bands third album The Bikini Tapes) closes the first disc sheer tour de force for all the members and definitely in the Ornette Coleman, Archie Shepp realm of frenzied rhythms and patterns. A perfect way to end the side one.

One of my favourite Atomic tracks that I could listen to everyday opens disc two, "Roma" (which also opens the band forth album Happy New Years) is blistering six minute piece that shows each member adding fuel to an already rampant fire of an evening. Wiik's forceful movement on piano are countered by Nilssen-Loves pulsating cacophony on drums. Broo and Ljungkvist add some scintilating treatments to make these a white noise affair but one that you will fall in love with quickly. Things between to calm down a bit with "Snguine" and "Edit" as Broo takes a more of the lead with some beautiful coloring reminiscent of Enirco Rava. These two tracks bristle with freedom and romanticism all the while holding a creative European edge.

Theater Tilters finally closes with the perfect example of the bands freedom and individuality "Two Boxes". "Two Boxes" features some fantastic interplay that really does go "out there" and back. Killer stuff from Ljungkvist, Haker-Flaten and Wiik with the rest of band closing in like climax of a horror movie.

Now as with The Vandermark 5, The Thing and Supersilent, Atomic are not for the faint at heart. This is an attack on the senses but the melody is there once you let the sounds envelope you. Theater Tilters is just another in the amazing cannon of one Europe's finest jazz groups. This is not my first choice for the Atomic uninitiated but if you want adventure in your music--Atomic is a great band to start with. Enjoy...

Celebrating The Life Of Fred Anderson

Fred Anderson (sax, b. 1929 - d. 2010)

Fred Anderson, considered the father of the Chicago Free Jazz Movement, passed away this past Thursday. His influenced could be felt throughout not only Chicago jazz but also European jazz. He was a co-founder of AACM (the Association for the Advancement of Creative Music) in Chicago. Anderson while a late contemporary of fellow saxophone free jazz legends, John Coltrane, Ornette Coleman and Archie Shepp--never really reach to popular heights those artist did. That is until the last decade or so of his life.

I really did start getting into Fred Anderson until 1997 when I picked up a used copy of Fred Anderson and The DKV Trio (Okka Disk). The DKV trio was a side project of Ken Vandermark (sax), Hamid Drake (percussion) and Kent Kessler (bass). It was mesmerizing recording that forced me to seek out more music from Fred Anderson. At the time his material was extremely hard to find. If you were living in Chicago you probably didn't know about Fred Anderson let alone could find a record by him.

Fred Anderson also ran his own jazz club in Chicago called the Velvet Lounge. He recorded a large majority of his latter releases there. And live was probably the best way to hear him. The club was forced to shut down in 2005 but reopen with the help of fellow Chicago jazz musician in a new location and has thrived ever since.

Anderson's playing and vision was direct and powerful. He possessed a full body way of performing that was reminiscent of the aforementioned legends but he too would carve out a distinct path that made each of his record their own. In addition to the DKV Trio, Anderson also worked with Marilyn Crispell (piano), William Parker (bass), Kidd Jordan (sax).

I never got the opportunity to see Fred Anderson perform live. He played the renowned Vision Festival in NYC numerous times. Like an idiot I always felt my favourite artists would live forever, so there would be plenty opportunities to see him. How wrong I was. But Anderson leaves a wealth of music for new fans to dive into. Whether you're into free jazz or not you need to at least experience a Fred Anderson record to understand what a legend he has become and will forever be.

If you decide to pick up any of Fred Anderson's music, I highly recommend you go to order from Downtown Music Gallery (in NYC) or Dusty Groove (in Chicago). They both have the best selection of Fred Anderson material.

My essential Fred Anderson recordings:
Dark Day (Atavistic Records reissue from 1979)
Fred Anderson/DKV Trio (Okka Disk; 1997)
2 Days In April (Eremite; 1999)
Back At The Velvet Lounge (Delmark; 2002)
Timeless (Delmark; 2005)
Live At The Velvet Lounge 2007 (Estrad Poznanska)

Celebrating Freddie Hubbard

Freddie Hubbard (trumpet; b. 1938 - d. 2008)

This week would have been Freddie Hubbard's 72nd birthday (April 7th). Yes, I probably should have written this early but things happen...

Freddie Hubbard was one fiercest hard bop players around. As some may know he was heavily influenced by the great Clifford Brown and Miles Davis and Louis Armstrong. But Hubbard would develop his own voice very quickly and would become a major influence on a new generation of trumpeters today (Ryan Kisor, Nicholas Payton, Roy Hargrove, et el.).

Freddie Hubbard performed with a host of legendary jazz musicians including John Coltrane, Ornette Coleman and Herbie Hancock to name just a few. Hubbard's style was robust, exuberant and well rounded; much more so than many of his contemporaries. When he played you knew it. I was lucky enough to see one of his last concerts and while he had definitely lost allot of his chops--due to a serious lip infection/injury during the 90s--you could still feel the powerful and energy in his performance. Freddie Hubbard like many of the legends of the '50s and '60s hard bop era played in Art Blakey's Jazz Messengers before branching out on his own to record some stellar work for Blue Note Records.

Freddie Hubbard's first album, Open Sesame (Blue Note; 1960) is must have for any fan of jazz. It features some fantastic phrasing from Hubbard but also incredible performances from fellow greats McCoy Tyner (piano), Sam Jones (bass), Clifford Jarvis (drums) and the highly under-rated Tina Brooks (sax) who wrote two wonderful tracks, "Open Sesame" and "Gypsy Blue". Hubbard contributed the lovely closing piece "Hub's Nub which features some exciting solo work that for me is staggering ever time I listen to it.

You could say the Blue Note years saw Hubbard at his peak--you might be wrong. In the 70's Hubbard signed with the CTI/Epic Records after a brief unsuccessful period with Atlantic Records in the late 60s. The albums he produced for CTI would become some of his most commercially successful of his career.

One of the critics and my favourites is Red Clay (CTI; 1970) is a double-edged sword. It can easily be seen as a response to the direction jazz was going in after Miles Davis' Bitches Brew and even some of the work of contemporary Donald Byrd with the collision of funk, soul and jazz. It can also been seen as the trumpeter really taking to the new sub-genre and making it his own in one session.

There's a host of killer performances on this album including the interplay between Joe Henderson (sax) and Hubbard. The album also featured a who's who of jazz greats: Herbie Hancock (piano), Stanley Turrentine (sax), Johnny Smith (organ), George Benson (guitar), Ron Carter (bass), Lenny White, Billy Cobham (drums) and Airto Moreira (percussion)--all I have to say is wow! The album is obviously highlighted by the funky almost psychedelic blues of the title track but you can solid mixture of his crisp Blue Note playing in an updated more rhythmic arena. This isn't completely a funk record by "funk/soul" standards. It's an album built on the soul of the musician with some terrific grooves laid in by his friends.

While the 80s were sporadic for recording and the injury to his lip finally took its toll on the legend, Freddie Hubbard's final two albums still show he could play in with the young cats. The albums, New Colours (Hip Bop) and On The Real Side (Four Quarters) both feature Hubbard running through some previously recorded material but with the help of a new generation which included Kenny Garrett and Javon Jackson (sax) Steve Davis (trombone), Joe Chambers (drums) and Russell Malone (guitar) among others. These two album are not essential in the canon of Freddie Hubbard but they are well worth listening to after you've experience some of his others.

His love of the trumpet and playing never die and it always should right up to his final days. Freddie Hubbard was a remarkable musician with a catalog that stands up against many of the other legends in jazz and should not be overlooked. Happy Birthday Freddie.

Jimmy Giuffre

Jimmy Giuffre (clarinet, sax; b. 1921 - d. 2008)

The Texas born, Jimmy Giuffre is sometimes a mythical figure even amongst jazz fans. He was classically trianed on clarinet--learned and perfected counterpoint (harmonic structure of two different musical lines which function together) which would be make his work standout high and above many of his contemporaries.

With well over 30 albums to his credit, he is widely known for his pianoless/drumless trios from the 50s/60s. These groups were unprecedented and highly inventive (saxophonist Gerry Mulligan also had a pianoless quartet) are recorded a series influential albums over the span of 10 years. The trio feature Jim Hall (guitar) and Ralph Pena (bass) and later a second trio with Hall and Bobby Brookmyer (trombone). The two trios performed some absolutely beautiful folksy and blues influenced jazz sessions during the mid to later 50s.

The bulk of these are extremely hard to find individually but Jim Hall/Ralph Pena sessions can be found on a great import collection entitled, The Origial Studio Recordings (Gambit). This contains some stellar material including the wonderful "Train and The River". The Brookmyer sessions can be found on a very expensive boxed set, The Complete Capitol & Atlantic Recordings (Mosaic Records). This also includes some killer performances of "Blue Monk" and "Pickin' em Up and Layin' em Down". A later Giuffre trio featuring would create another influential trio with Paul Bley (piano) and Steve Swallow (bass) which would record series of even more influential records.

The most famous sets were 1961 (ECM) (aka the two albums Fusion and Thesis) and Free Form (Columbia). These were part of what Giuffre were early experiments in Free Jazz. Unlike what some would associate with Ornette Coleman, Eric Dolphy or even John Coltrane, these sessions were introspective yet adventurous for their use of space. It is a melodic session were Bley, Swallow and Giuffre each explore different aspects emotionally. This is a landmark recording in jazz history and well worth seeking out.

Giuffre would record and teach throughout the 70s and 80s but made a return to recording during the late 80s and 90s and even recorded two more sessions with Bley and Swallow which saw the three still in top form after a twenty year hiatus. Jimmy Giuffre's lineups may sound complete out of left-field for the uninitiated but when you hear them (jazz fan or not) you will be spellbound at how powerful and creative the groups could be.

William Parker

William Parker (bass; b. 1952)

(photo: Dave Kaufman)

Probably the most creative and forward-thinking bassist since Charlie Mingus, William Parker has been a prolific recording artist for more than three decades and over 20 albums. William Parker's technique is direct and his phrasing is always well considered. His records range from avant garde to hard bop to large ensemble pieces -- all with great inventiveness. He has played with such luminaries as Charles Bracken, Rashid Ali and Don Cherry -- to name a few. All have had an influence on Parker's work to one degree or another.

A series of releases recorded with his most consistent quartet, featuring Hamid Drake (drums), Rob Brown (sax), Lewis Barnes (trumpet), include two highly recommended projects, O'Neals Porch and Sound Unity (both on Aum Fidelity). Both highlight the ability of each member to establish, develop and create thematic moods that evoke a sheer mastery of their instrument.

The themes and directions of both albums, while building toward free improvisation, actually start with a foundation that many will find accessible. The material is highly layered and the individual performances gel magnificently. At their best, they're reminiscent of Charles Mingus' releases for Impulse during the 60s, such as Black Saint and Sinner Lady.

The title tracks and "Song For Jesus" are notable for their lyrical beauty. Brown and Barnes also express themselves wonderfully throughout these sessions, making it clear that no one in this band is ever overshadowed. While many of Parker's albums are very complex with themes and textures that can be overwhelming and arching in new directions, both Sound Unity and O'Neals Porch are well suited for the uninitiated. Two must listens by far.

Billy Higgins: Why He's Important

Billy Higgins (drums; b.1936 - d. 2001)

The greatest and most recorded jazz drummer of all time. High praise yes but if you actually knew how many albums on which Billy Higgins plays, you would understand (and also probably be a very rich person). Billy Higgins played in R&B when he was young, coming to prominence once he joined bassist/pianist, Red Mitchell's group. This led him to apply his versatility in both complex and delicate recording sessions and live gigs. Billy Higgins had become the "artist of choice"--recording and performing with such musicians as Lee Morgan, Pat Metheny, Herbie Hancock, Ornette Coleman, Thelonious Monk, Sonny Rollins and most recently with Charles Lloyd.

His style was rhythmically understated but always precise. Billy Higgins could literally do-no-wrong when behind the kit. As a result of Billy's "in demand-ness" (at least 100 sessions as sideman) his own discography is very thin. But thinness doesn't mean lack of quality. Of the ten albums attributed to him as leader only about four are still available--just barely. I don't own all his albums but he is one of the first artists I look forward when I'm in a used record store. His recordings are beauty and each provide a small bit a variety to making them very distinct from each other. Again the understated quality combination with superb musicianship.

I would recommend The Billy Higgins Quintet (Evidence, 1997) as one of the album you should definitely seek out. Quintet includes a wonderful lineup featuring Oscar Brashear (trumpet), Harold Land (sax), David Williams (bass) and his most consistent collaborator Cedar Walton (piano), all in absolutely sublime form for this outing. Higgins was never really an original composer; his own releases contained standards and material written by his fellow musicians. But that shouldn't stop you from taking a good listen to this fabulous recording. Cedar Walton and Harold Land are legends and are really cookin' on this session as evident on the opener, "Step Right Up To The Bottom," and " The Vision" both written by Land and Walton, respectively. They almost overshadow the proceedings until you listen closely and realize who really is leading the session--Higgins. It's an awesome recording that would be worth the money to pay for.

In the last few years of his life he had recorded with saxophonist Charles Llyod, most significantly on Llyod's 2004 album Which Way Is East (ECM). Which Way Is East is phenomenal and features an array of instruments played by both musicians on this duo session. Higgins even plays guitar on a couple of tracks. This album may be only for the true jazz fan but I highly recommend it as an example of what both artists can do at the top of their game. The album was recorded just a few months before Higgins passed away.

Billy Higgins was an indelible figure and his influence will be felt for years to come. Check some of your albums you may even have Higgins in your collection and don't even know it. The word "legend" gets used allot (even by me) but in Billy Higgins case it is beyond a shadow of a doubt.

The Thing: Swedish Rampage

The Thing (group; fromed 2000)
Bag It! (Smalltown Superjazz)

White Noise with style and beauty. That's probably the best way to describe it.

The Thing are a power trio from Sweden, who along with Acoustic Ladyland, Supersilent, Atomic and Polar Bear have been pushing the sound barrier of jazz for a decade now. Led by the creative mastermind of saxophonist Mats Gustaffson, Paal Nilssen-Love (drums), & Ingebrigt Haker-Flaten (bass), The Thing is a consistent and reliable source for a challenging good time on every outing.

The Thing's new album (8th in total), Bag It! was produced appropriately by legendary noise maker, Steve Albini (founder of alternative band Big Black) whose production credits include The Pixies, Wedding Present and more. The album features covers of Duke Ellington "Mystery Song" and a rapturous version of Albert Ayler's "Angels" as well as their own "Hot Doug" to name a few.

The Thing do a masterful job of melding the avant garde and punk ethos together with fantastic results. While most European jazz recently has been based on the Miles Davis fusion era, The Thing has used prog-rock (King Crimson, Can, etc.) and jazz (Albert Ayler, Don Cherry, Ornette Coleman, etc.) as their launching pad to explore new ideas that would probably make Miles and Coltrane extremely proud. The Thing isn't for everyone but if you like your music loud, improvised and in your face, then The Thing's Bag It! is the perfect starting point for self destruction (or self evaluation).

DKV Trio: One Of Chicago's Finest

DKV Trio (group; formed 1994)
Hamid Drake (drums/percussion)
Kent Kessler (double bass)
Ken Vandermark (reeds)

DKV Trio is one of Ken Vandermark's many projects away from his main group The Vandermark Five. I hadn't listened to DKV in a few months until this past weekend and forgot how much I really dug these records. Formed in 1994, DKV Trio have released six albums and become one of the most popular group in their home base of Chicago as well as internationally.

A semi-supergroup, each individual is renowned throughout the jazz community, so the formation of DKV is force that must be seen as well as heard. The albums are explorations in "free jazz" but that doesn't mean its completely "out there". They utilize various rhythms and themes as the basis for the structure of their tunes. Hamid Drake's drum work can go from fernetic to funky in an instant. And the interplay with Kessler and Vandermark shows the simpatico the trio has developed over the past 15 years. In some ways the band is similar to late 60s - 70s work of Ornette Coleman's Quartet with Dewey Redman, Charlie Haden and Ed Blackwell as well as one of Vandermark's main influences Don Cherry. The trio even cover Cherry's classic Complete Communion on one of their releases.

A group with true artistry and extraordinary insight into what and where free jazz can go--DKV Trio are worth listening. All of their records are impressive, especially their collaborations with Chicago sax legend, Fred Andreson and guitarist Joe Morris. The albums are not that hard to find but you may have to dig around for them online and at some of the cooler record stores. This was one of fresh discovers for me this past week and one of those most where you say to yourself, "this is way I love jazz."

Polar Bear: ...to everyone--WAKE UP!

Polar Bear (group)

Mark Lockheart (sax)

Peter Wareham (sax)

Sebastian Rochford (drums)

Tom Herbert (bass)

Leafcutter John (electronics)

If you are looking for the future of jazz, Sweden, Norway and England are places you should be right now. Polar Bear are among a long list of bands from the UK "collective" scene originating with two jazz communities, F-ire and Loop, that are truly reshaping the Jazz to come (that's me taking liberties on Ornette Coleman, sorry).

Polar Bear is the slightly calmer twin of Acoustic Ladyland (featuring two of its founding members), who released my favourtie album of 2009, Living With A Tiger. I originally discovered Polar Bear while waiting for a flight at Gatwick Airport. I was in an airport HMV store and found their first album for just 3 quid. I had read about them in a couple of magazines on my trip but couldn't find anything until I got to the airport. I decided for 3 quid, what the hell. It was the best 3 pounds I had spent on the entire trip and I have been a fan ever since.

Polar Bear may exist in a similar world as Acoustic Ladyland but they are carving out a jazz palate that is still adventurous but stays within the traditional idiom. Led by drummer Seb Rochford, the group is a formidable unit with staggering talent that grows with each record. They have recorded three critically acclaimed albums that are a must for all jazz fans. Polar Bear's first three albums Dim Lit (Babel), Held On The Tips Of Fingers (Babel) and Polar Bear (Tin Angel) all capture a young band that is inventive beyond its years but also one that wants to continue to push the envelope to see what else can be done.

Their 2008 self-titled album lays in some quiet grooves for emotional effect while still keeping their post bop adventurous edge as on as songs like "Sunshine" and "Leafcup". Then, there are great combinations of the avant garde and electronics as heard towards the end of Polar Bear with the song "Sounds Like A Train To Me". A truly original band displaying the creative tendencies you normally would see in an artist like Dave Douglas or Jason Moran, if this isn't Polar Bear's year to finally breakout in the U.S., I will be extremely pissed off.

The London based quintet, release their 4th album, Peepers (Leaf Label) on March 1 and it delivers a clear statement to the rest of the jazz community--wake up and start doing something new!

This is probably my album of the year. Yes I realize we are only two months into a new year but when you make an album like this, everyone needs to step back and take notice. Peepers moves open step ahead of their previous efforts. Peepers has a heavier sound and more descriptive elements as apparent on songs like "Drunken Pharaoh" and "A New Morning Will Come". The always reliable Polar Bear kinetic, experimental energy is still there as evident with "Scream," and "Want To Believe Everything".

With Peepers, Polar Bear have made an album that combines their distinctively British qualities, American influences and European experimentalisim into one cohesive vision that for me is absolutely phenomenal. Of the records you buy this year please, please, please make Peepers one them. HIGHLY RECOMMENDED.

Polar Bear are also offering a FREE download of the titled track, Peepers. You won't be disappointed. And finally, check out their new video for "A New Morning Will Come."

Empirical: The New UK Hard Bop

Empirical (group; 2007)

Empirical are the latest in what is becoming an endless list of very solid groups coming from the U.K. at the moment. This London based quartet are steep in the John Coltrane, Eric Dolphy, Ornette Coleman tradition of eclectic hard bop. Empirical utilize their influences with great skill and technical ease making their two albums, 2007's self titled debut and 2009's sophomore effort, Out'n'In immensely enjoyable.

Out'n'In (Naim Jazz) is a tribute to the legendary saxophonist, Eric Dolphy and his landmark Out To Lunch album. The music is definitely as challenging as Eric Dolphy, but delivers it in an incredible accessible manner that will find even the non-jazz listener stand up and appreciate the band's fast-growing popularity. This is an album that flows effortlessly, beginning with "Out But In" and features two covers of Dolphy tunes while closing out with the lovely "Bowden Out".

Empirical, in addition to Acoustic Ladyland and Polar Bear, may be the three bands to watch in 2010. The UK jazz scene hasn't been this hot in years. Empirical can be one of the leaders of the pack that could very well break out on this side of the Atlantic...I hope. For everyone who wants to check them out, go to their webisite and download the FREE 4 track Empirical Live At Ronnie Scotts Ep. (You might want to download the tracks individually instead of all at once. I had a little trouble. You can listen to it on your iPod or other MP3 player.) And did I mention it's FREE.