Francois Houle & Havard Wiik: Aves

Francois Houle (clarinet)
Havard Wiik (piano)
Aves (Songlines Recordings; 2013)

Another exciting duo session from Francois Houle. This time he collides with versatile stylings of pianist, Havard Wiik. Together they emerge with the sublime, Aves. This is well crafted, well improvised session that melds classical and free jazz into a harmonious celebration.

"Nomenclatural" starts off quietly with a heavy melody that soon builds into a series of rolling counterpoints. Wiik and Houle seem to challenge each other at very turn with improvised notes that both offset and combine for a lovely high energy experience.

"Ged's Shadow" and "Letter for Gregory L" focus more on the simply sparse notes laid out by Wiik. Very emotional and dense, which allows the listener to sink deeply into their own darkness. Houle can be hear deep in the background (except towards the latter passages of Gregory) which makes both piece even more eerie and effective.

"Woodhoopoe" sees Houle playing various notes in a pattern which felt like a mixture of both classical, free form and African. There was beat that develops but more effectively "Woodhoopoe" doesn't feel like Houle on clarinet. It was reminiscent of recent work by Colin Stetson and his rotating breathing effects. A great solo piece.

I am a huge fan of Francois Houle and get excited by each release. With Aves, It feels as though his met another kinder counterpart along the lines of fellow collaborator, Benoit Delbecq that he can bounce ideas off. And the results is another fantastic and invigorating session that is well worth every one's time to seek out. Highly Recommended.

Fred Hersch & Benoit Delbecq: Fun House

Benoit Delbecq (piano)
Fred Hersch (piano)
Fun House (Songlines Recordings; 2013)
Mark Helias (bass)
Gerry Hemingway (drums)
Jean-Jacques Avenel (bass)
Steve Arguelles (drums)

It's always an exciting prospect when two great conceptualists combine their ideas. The results can be sublime. And that is exactly what happens on Fun House, the new collaboration between Fred Hersch and Benoit Delbecq.

A fantastic intersection of classical tradition, jazz ethos and soundscapes. Delbecq known for his complex patterns and sparse ambience. Hersch renown for his creativity, elegance and agility to move the jazz tradition forward. These elements are pulled, stretched and expanded through Fun House in various hues by an amazing double trio.

"Ronchamp" is a heavy, dense piece that while revolving around improvised notes of Hersch and Delbecq, also serves as a platform of vibrant performances by Avenel and Helias. The movements feature deep lows and cathartic high tones. All folded into a short three and a half minutes.

"Fun House" and "Le Rayon Vert" are complexed ballads wrapped in third-stream harmonic melodies. They are at once blissful and serene. Then carving a pattern of improvised exchanges between each instrument. While "Night For Day" is the more traditional piece in this set. A straight ahead one, two bop rhythm. It's cool and playful as Hersch sounds like the shadow of Thelonious Monk.

The closing track, Ornette Coleman's "Lonely Woman," was also featured on Hersch's Alive At The Vanguard release from a year ago. Here in the double session, it has more atmospherics and a rich psychedelic feel. Still deeply personal but also crackling with life thanks to dueling conversation between the two pianists.

At times throughout Fun House it's difficult to discern which musician is which coming through the left and right channels. But that actually is the point. This set of accomplished musicians, whom have played together before in various configurations, sound like one ensemble in harmony. Fun House is an easy and control session with lots of dynamics that will be immensely enjoyable to admirers of both Delbecq and Hersch. But also for those seeking something new and introspective. Highly Recommended.

Francois Houle: Genera

Francois Houle (clarinet)

Genera (Songlines Recordings; 2012)

Samuel Blaser (trombone)

Harris Eisenstadt (drums)

Taylor Ho Bynum (cornet)

Michael Bates (bass)

Benoit Delbecq (piano)

Genera is a bit of a return to the modern focus of Francois Houle's earlier '00s outings with his group +5. A group that consist of revolving musicians (including frequent collaborator Benoit Delbecq). While maintaining a clear jazz focus, Houle has deployed his usual adventure with improvised themes throughout this session.

"Essay #7" rips and rattles along with a sense of urgency and jubilation. Eisenstadt and Bates secure a pounding pace, as the horns improvise all over the scale. All this is lightly tempered by Delbecq's versatile style at the keys.

With "Guanara," Houle allows the sextet a whole lot of room to expand. Houle's tone is light, yet with multiple layers of complex changes. Conversations between Delbecq, Eisenstadt and Bates dart and jag across your senses quickly but with a real sense of grace. Houle, Bynum and Blaser return towards the end for rousing conclusion.

"Albatross" is that dark improvised piece that moves slowly with Bynum in excellent form. The horn section are the real stars on this piece, with all three men really screaming in delicate unison. Sounds contradictory but you really have to hear to understand the beauty.

On "Sulfur Dude," Houle's composition makes this sextet sound almost like a large ensemble. It starts from a very organic place and each musician adds other rhythmic element on top of lines. This in turn creates a harmonic structure that is striking as well enchanting. For me it's my favourite piece on Genera.

A return to more organic themes is the best way to describe Genera. And Francois Houle has shown once again his versatility as a composer, leader and musician. Genera is a departure from the more recent ambient/avant classical chamber material of his last outings. But its a value addition in understanding the artist. Highly Recommended.