Best Albums Of 2010: The Vandermark 5

The Vandermark 5 (group)

The Horse Jumps and The Ship Is Gone (2CDs; Not Two Records)

Ken Vandermark (sax; clarinet)
Tim Daisy: percussion Dave Rempis (sax)
Kent Kessler (bass) Fred Lonberg-Holm (cello)
Magnus Broo (trumpet) Havard Wiik (piano)

The Vandermark 5 returned with a vengeance this year with their fifteenth album, The Horse Jumps and The Ship Is Gone. For this outing Ken Vandermark takes the unique step of inviting two of his regular collaborators in his other projects, Magnus Broo (trumpet) and Havard Wiik (piano) (of the group Atomic) to sit in and it has some stunning results. The album features a number of tracks that appeared on the band previous two albums Annular Gift and Beat Reader.

The addition of the two Atomic member does add a bit more fire to the session. It seems Vandermark's material here is more challenging and each member has allot to counteract with throughout the recording. Things get started heavy with fierce opening number "Friction" where Wiik's heartpounding progression an intensity and urgency to band that I haven't heard in a few records. On the next piece, "Some Not All," the group subtle into a rhythm lead by the pianist and Tim Daisy on drums with some unbelievable work from Longberg-Holm on cello. The horn section led by Vandermark provides a wonderful battle like Godzilla vs all of Japan.

Wiik contributes to magnificent pieces to this set "New Weather" and "Green Mill Tilter", the latter featured recently on the Atomic live album, Theater Tilters (Jazzland). "New Weather" is nice and complex piece with the horn section leading the way in the early going and quietly giving way to some trio interplay by Wiik, Longberg-Holm and Daisy. Then returning to the horns for some rich, bold statements on each players part. Wiik has written a piece that suits V5 perfectly. Since each of the members have played with one another in very forms you have to except there is a great deal of knowing each others movements and strengths. Wiik and Vandermark have picked up on that perfectly throughout The Horse Jumps...

The Vandermark 5 as I have said before, are one of the few bands pushing jazz forward and beyond. The Horse Jumps and The Ship Is Gone is no exception. It is a compelling and sprawling work that challenges everything in free jazz and shows this American quintet plus two to be in peak form. The Vandermark 5 get better with each record. They are one of the most important jazz bands not just in America but in the world.

A New Vision Of Chicago: Josh Berman

Josh Berman (cornet; b. 1972)
Old Idea (Delmark Records)

Keefe Jackson (sax)
Jason Adasiewicz (vibes)
Anton Hatwich (bass)
Nori Tanaka (drums)

(photo: Jim Newberry)

Surprisingly, this is cornetist Josh Berman's debut album. But Old Idea (Delmark) shows a lot of strength from an artist who really is a veteran player on the Chicago scene. Josh Berman's resume is deep; with solid Chicago credentials that include Lucky 7s, Umbrella Music collective, Luzern Exchange, Exploding Star Orchestra, Fast Citizens and Rolldown (led by Jason Adasiewicz). So he has been around the block and in the circuit long enough. A first album really shouldn't be a surprise. Neither should it surprise anyone how fantastic Old Idea truly sounds.

On first spin Old Idea could sound like many of the other free jazz brass ensembles that have come out of Chicago in the last decade. Many emulating the power and creativity of the revered Ken Vandermark/Vandermark 5. But after closer inspection you realize that all of them stand apart quite nicely. And this quintet stand up forcefully well, all led on strength and direction of Berman.

Fueled by multiple inspirations ranging from the fellow Chicago native, Brad Goode, the late Bill Dixon, Miles Davis and Dave Douglas, Berman has created his own lyrical style which is both inventive as it is sensitive. His band has played together in various forms in the aforementioned bands since around 2001.

The beauty interplay throughout this group is phenomenal. On the opener "On Account Of A Hat" you can hear the mixture of improvisation, creativity and sensuality in the playing as each member slowly comes into the performance. Starting with Jackson and Berman on horns, Adasiewicz with Hatwich gently nimbling his way and resulting in Tanaka on drums mixing it up with Adasiewicz until Jackson and Berman come counterpointing back.

What sets Berman's Old Idea apart is the free sparse arrangements he written for this group. While it is definitely based in the Chicago Free Jazz tradition, it definitely utilizes the aspects of space and breath for the listener to jump in and absorb. On "Let's Pretend", one of my favourite new Chicago performers Keefe Jackson, delivers some near perfect phrasing that is muscular but delicate. Delivered in a Rollins-like model, Jackson moves the material along as Adasiewicz adds the spacey earth-tone elements to proceeding. As the piece strays into "Out There" territory, Berman turns in a veracious yet cerebral performance that sort of tells you all you need to know---this cat is bold, serious and highly engaging.

The ballad "Almost Late" is a lovely piece led by Adasiewicz's moody Dave Pike meets Bobby Hutcherson momentum with swathes of rhythmic beauty from both Tanaka and Hatwich with Berman and Jackson combining to add some lush overtones. "Almost Late" is a exquisite piece of writing that had me coming back to this track over and over.

There are three short pieces entitled "New Year (A, B and C)" spread across the session that demonstrate the duo and collabrative efforts of the members within Berman's material. While the three pieces are different, they definitely show top-notch musicianship of the players. Particularly New Year C in which the full band add elements of space, colour and subtle improvisation that make it an absolutely beautiful way to close out a great recording.

Overall, Old Idea is an album highlighted by veteran performers with a leader in Josh Berman who's absorbed a lot over the last decade and it's finally made its way into the studio. This is an awesome debut if you want to call it that. Chicago has a rich tradition of Free Jazz artists. It's sometimes very hard to know where to start; I think Josh Berman is a great, creative and accessible way to dig your ears in for a taste of an artist with true vision for the future. I hope that he continues to strike out on his own in addition to the performances with his collective in Chicago.

Lucky 7s: Chicago/New Orleans Big Beat

Lucky 7s (group; formed 2006)
Pluto Junkyard (Clean Feed; 2009)

Jeff Albert (trombone)
Jeb Bishop (trombone)
Josh Berman (cornet)
Jason Adasiewicz (vibes)
Quin Kirchner (drums)
Matthew Golombisky (bass)
Keefe Jackson (sax)

Lucky 7s are an incredible ensemble that has somehow merged the vibrant, gritty and ethereal aspects of both their native cities (Chicago and New Orleans) into an intoxicating yet accessible concoction that is well worth seeking out.

Developed by Jeb Bishop and Jeff Albert in 2006--featuring fellow chicago members from other bands, they then were joined by Matthew Golombisky and Quin Kirchner who migrated to Chicago, originally to perform with the others members on a few dates. This turned into a full-fledged band later that year.

Lucky 7s has a similar sound in line with other Chicago bands (Vandermark 5, Exploding Star Orchestra, Chicago Underground, etc.) but this group seem to find another way to turn what looks similar into something completely different. A well balanced and well placed focus on driving brass rhythms combined with spacey free from atmospherics sets this ensemble apart from its Chicago neighbors (of whom some members do belong actually).

The band debuted in 2006 with Farragut (Lakefront Digital), a fierce attack of complex arrangements and mood changes that made clear that Jeb Bishop and Jeff Albert were terrific song writers outside the groups they performed in regularly. While Lucky 7s is loosely led by Bishop and Albert, each member is allowed to express themselves in this septet.

Pluto Junkyard (Clean Feed) is the groups second album and advances the sound and structures even further. The album is jubilantly moved along by the perfection of Jason Adasiewicz on vibes and stellar work by Keefe Jackson on sax. Adasiewicz adventurous other world soundscapes and Jackson's muscular dexterity add real colour to the proceedings as apparent on "Culrual Baggage" and "Future Dog".

The somber yet beauty "Afterwords" is an emotional meditation on the originals of the band--developing as a result of members Albert, Golombisky and Kirchner moving to Chicago after Hurricane Katrina. This is well documented if you already follow the band it is significant in that the roots of both New Orleans and Chicago jazz live harmoniously through Lucky 7s. "Afterwords" displays this richly through the what could almost be journey walking down a New Orleans street in the aftermath. The basslines from Golombisky are haunting and easily detached you from session to fill you emotions of sorrow and the hope that follows.

"The Dang Hang" is smoldering piece as the liner notes state based around a late night bender possibly? Either way, its a fantastic divergence for the album in a more hyper-rock, free jazz mode. It's fun and show the band can really let rip when it needs too. The always reliable and creative Jeb Bishop takes up electric guitar for this piece with unbelievable results. But "The Dang Hang" has so many changing parts it makes for fascinating listening. The trombone interaction with Adasiewicz's vibes is beauty laid in the middle of the piece and resets the band for a nail-biting conclusion.

"Sunny's Bounce" is nice ode to psyched out sounds that influence Lucky 7s (mainly being Sun Ra) but also the New Orleans legends take flight here as well. It's a gentle midtmepo number creating number hip patterns that will keep your feet tapping but with an interchanging of "what was that note" mixed in. "Sunny's Bounce" is jumping, fresh, but yet interwoven with enough free thought that is not just a homage as it is a statement of intention.

Lucky 7s hopefully is a group that these members will continue to come back to in addition to their usual gigs. Pluto Junkyard definitely stands apart from its Chicago counterparts as a vehicle infusing the roots of two great jazz towns but it also show the immense talents of the entire outfit. This band could easily be making as many records as V5 or CU in the coming years. If you get a chance definitely venture out Lucky 7s..

The Vandermark 5 On Fire Again!

The Vandermark 5 (group)

The Horse Jumps and The Ship Is Gone (2CDs; Not Two Records)

Ken Vandermark (sax; clarinet)

Tim Daisy: percussion  Dave Rempis (sax)
Kent Kessler (bass)  Fred Lonberg-Holm (cello)

Magnus Broo (trumpet)  Havard Wiik (piano)

The Horse Jumps and The Ship Is Gone is The Vandermark 5's fifteenth album. For this outing Ken Vandermark takes the unique step of inviting two of his regular collaborators in his other projects, Magnus Broo (trumpet) and Havard Wiik (piano) (of the group Atomic) to sit in and it has some stunning results. The album features a number of tracks that appeared on the band previous two albums Annular Gift and Beat Reader.

It is rare to hear Ken Vandermark in any of his groups, with a pianist, let alone his mainstay V5. The other groups being Free Fall and the supergroup Atomic-School Days actually also include Havard Wiik as well as the full Atomic group.

The addition of the two Atomic member does add a bit more fire to the session. It seems Vandermark's material here is more challenging and each member has allot to counteract with throughout the recording. Things get started heavy with fierce opening number "Friction" where Wiik's heartpounding progression an intensity and urgency to band that I haven't heard in a few records. On the next piece, "Some Not All," the group subtle into a rhythm lead by the pianist and Tim Daisy on drums with some unbelievable work from Longberg-Holm on cello. The horn section led by Vandermark provides a wonderful battle like Godzilla vs all of Japan.

Wiik contributes to magnificent pieces to this set "New Weather" and "Green Mill Tilter", the latter featured recently on the Atomic live album, Theater Tilters (Jazzland). "New Weather" is nice and complex piece with the horn section leading the way in the early going and quietly giving way to some trio interplay by Wiik, Longberg-Holm and Daisy. Then returning to the horns for some rich, bold statements on each players part. Wiik has written a piece that suits V5 perfectly. Since each of the members have played with one another in very forms you have to except there is a great deal of knowing each others movements and strengths. Wiik and Vandermark have picked up on that perfectly throughout The Horse Jumps...

"Cadmium Oranage" begins with some swirling clarinet work by Vandermark that would make Jimmy Guiffre proud. The track becomes a melodic, avant funk workout for me reminiscent of Vandermark's work with another of his side projects, Spaceways. "Desireless" is beauty piece of avant garde in which Rempis, Vandermark and Broo have an interplay that uncanny drives the rest of the group forward. While Wiik's playing again standouts, its Kessler who is the glue that holds things together here. Kessler's propulsive work is the counterpoint rhythm that keeps the group in track.

And speaking of glue, "Cement' is another piece in which Daisy, Wiik and this time, Kessler lead the rhythm with the horn section coming in as cinematic response chords. It gets funky and it gets wild and before you know it--its over. This is amazing piece written by Vandermark which provides another set of opportunities for each member of ensemble to shine accordingly.

The final track "Nameless" hits you like a wildfire. The sheer ferocity of Rempis and Vandermark monumental playing here soon opens to a wall of distortion from Longberg-Holm and then returns to some quiet but humorous interplay between horns, piano and drums and finally a destructively perfect ending solidifying well rounded and accomplishing outing.

The Vandermark 5 as I have said before, are one of the few bands pushing jazz forward and beyond. The Horse Jumps and The Ship Is Gone is no exception. It is a compelling and sprawling work that challenges everything in free jazz and shows this American quintet plus two to be in peak form. The Vandermark 5 get better with each record. And I have to say this is probably in my top three favourite V5 albums ever. HIGHLY HIGHLY RECOMMENDED!

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...

Sonore: A Journey Into Sound

Sonore (group; formed 2003)

Peter Brotzmann (tenor/baritone sax)
Ken Vandermark (tenor/baritone sax, clarinet)
Mats Gustafsson (alto/bass/tenor sax, clarinet)

On the scene for over 40 years, German born, Peter Brotzmann has led groups of varying sizes. But the one constant is the sheer devotion to exploring the outer reaches of jazz. He is an aggressive player and for some (even the die hard avant garde fan) it may be hard to find the structural element in the piece. This is usually the time in which you should just sit back and enjoy the musicianship and the structure will find you.

Brotzmann is responsible for some of the most important European free jazz albums in history (Machine Gun (1966), Nipples (1969), Die Like A Dog (1993) and Octet/Tentet (1997)). While those are massive statement records of Brotzmann's intent and talent, there is one more recent group that he leads with musicians that he has influenced that appeals to me even more---Sonore.

Led by the European free jazz godfather, Sonore is an adventurous, dangerous yet wonderful collaboration from three of the most renowned saxophonists on the avant garde scene. Each with their own groups which they lead to equal success (The Vandermark 5, Gustafsson with The Thing and Brotzmann with his Tentet and Die Like A Dog among others). Slightly similar to Brotzmann's work with Bill Laswell in Last Exit but completely without a rhythm section--on the agrression of saxophones to lead the emotion and structure.

It is staggering and joyful to hear and witness live the power and influence Peter Brotzmann has had on his two disciples in Vandermark and Gustafsson. The interplay and respect each musician has for one another makes their three albums (Call Before You Dig; Only The Devil Has No Dreams, and No One Ever Works Alone)highly enjoyable. There isn't really one album that is better than the other. I would say the newest album Call Before You Dig (Okka Disk) which is a live and studio double album is good way to get the two sides of the band an idea of the strength of this amazing improvising outfit.

Trust me, this is not music for the faint at heart. This is improvising at its best. Two generations of musicians who are the best at their craft meeting for a brief and fruitful conversation through sound. Highly Recommended for those not afraid of sound.

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."