Outhouse: Straw, Sticks + Bricks

Outhouse (quartet)

Straws, Sticks + Bricks (Loop/Babel Music; 2011)

Robin Fincker (sax, clarinet)

Tom Challenger (sax)

Johnny Brierley (bass)

Dave Smith (drums)

Hilmar Jensson (guitar)

On their third outing, Outhouse seem to be completely focused and created a solid and highly auspicious album with Straw, Sticks + Bricks. It's big, loud, scratchy and sometimes brooding. But at it's center, Outhouse have made another statement as to why they are becoming one of the most exciting British bands on the scene.

At times you might think Outhouse were actually part of the Chicago scene. The set of horns, bass and drums provides a unique, bold and cacophonous quality that is sometimes associated with the aforementioned scene. But once you get into the heart of pieces like the opener, "Kitchen In The Middle" you realize this quartet have different intent altogether. I got the feeling I should be reading a creepy version of Jack and the Beanstalk. The succinct one beat of the drum kit and sax helped me tap out "fe fi fo fom." Pretty funny for me. You may not notice this. The addition of Hilmar Jensson on guitar pulls out a grit that was always there on previous Outhouse's records but is more crystallized on Straws, Sticks + Bricks.

"Fool" builds slowly and compounds a number of tones and rhythms. Finker and Challenger worked brilliantly off each other while Brierley and Smith add perfect time and pace. Jensson's guitar cuts across the patterns at just the acute time. "Fool" works it way to a quiet conclusion in its last two minutes. Steady and unwavering. A number of disjointed and aggressive emotions balance neatly like Kurt Rosenwinkel mixing it up with John Zorn and Ken Vandermark. Great work.

"Alignment," more of a ballad, opens with a gentle but steady beat from Smith before the rest of the group join in to provide a calm hypnotic aesthetic. The vibe was reminiscent of Aram Shelton's recent work. This is exploratory and emotional with deep revolving effects. "Long Notes" led by Smith's rolling patterns, some soft plucking from Brierley and some intersecting notes from the rest of the group create an intense, expressionist closing number but still manages to leave the listener hypnotized by Outhouse's ability to craft some really evocative notes.

Unlike a number of their compatriots, Outhouse don't tend to go for the thundering beat. They are an investigative quartet that seems to be searching for next process in the rhythm. This is a journey we at JazzWrap are always willing to go on. The British scene is definitely rising. And with Straw, Sticks + Bricks, Outhouse are continuing to stay right up there with Acoustic Ladyland/Polar Bear, Neil Cowley, et al. Brilliant stuff.

Oscar Penas: From Now On

Oscar Penas (guitar)

From Now On (BJU Records; 2011)

Dan Blake (sax)

Moto Fukushima (bass)

Richie Barshay (drums)

Franco Pinna (bombo leguero)

Gil Goldstein (piano, accordion)

Oscar Penas is an artist whose cultural heritage shines through in his work. And his latest, From Now On is no different. Penas fuses contemporary motifs around Spanish rhythms with delightful and romantic effect.

"Continuum" opens with a dreamy set of chords from Penas quickly joined by some absorbing tones employed by Blake. This is a lengthy piece that allows the musicians to stretch and expand. Penas creates a nice passage of time for the listener. This is a tune that moves up and down thanks to a number of different transition points but always remains rich, elegant, well composed. Gil Goldstein adds a delicious touch to "From Now On."

Penas has a delicate lyricism to his writing that makes this piece very personal and captures you on the first spin. Goldstein's playing is extremely engaging. "Julia" is one of my favourite tracks on the album. A midtempo ballad that celebrates passion, life and love. The piece is dedicated to Penas cousin but you really will get your own personal affection out of "Julia" without ever knowing the source of the selection. Barshay's soft brushes blend with Goldstein's accordion creating a truly divine and soulful overture that leaves you in awe.

From Now On is one of those romantic albums that grasps hold of you quickly. Warm, opening and refreshing--Oscar Penas hopefully won't be an unkept secret from many. From Now On is an album that should be universally praised and rewarded. A definite must listen...

Baloni: Fremdenzimmer

Baloni (group)

Fremdenzimmer (Clean Feed; 2011)

Joachim Badenhorst (clarinet; sax)

Pascal Niggenkemper (bass)

Frantz Loriot (viola)

Blending the urgency of improvised music with spacial aesthetics of classical chamber music, Baloni have debuted with the phenomenal and flawless, Fremdenzimmer (Clean Feed; 2011).

If you've been with us for awhile you know I have become a huge fan of both Badenhorst and Niggenkemper in the last year. They've teamed up again along with Frantz Loriot to compile 11 tracks of beguiling expertise and beauty.

I guess a way to describe it is free form improvised classical? Maybe? I guess?

"Lokomotive" moves in just as the title says. The train leaves the station slowly and builds up steam. The music sways and shifts like a Steve Riech piece but is challenging at every turn. A hypnotic number that utilizes space and calm that leaves you motionless. Badenhorst's manipulation on clarinet with Loriot and Niggenkemper's counterpoint structures on "Searching" had me sitting intensely trying to figure out which instrument to focus in on. It's a  dense piece with moving parts that are both quiet and bold. Niggenkemper and Loriot really shine from the halfway point through to the closing notes of this piece. Their string work is impressive and full of life.

"4am" is fragile and haunting. The trio, while starting on a structured path make it clear that within the borders of this piece they will roam freely with ideas. Loriot's plucking provides the creative constant within "4am." The backdrop is Badenhorst and Niggenkemper's one tone that locks the listener in and also sets in place the next piece, "27'10 Sous Les Neons."  A playful number which feels like it could be a commissioned piece for an avant-garde ballet.

The title track, I believe meaning "guest room" in German (someone please correct me if I'm wrong), is possible not the guest room you'd want to stay in. This is a delicate and well-crafted piece that has many angles and edges. Badenhorst and Loriot are unified in sound and compliment each other even during the slightly aggressive exchanges.

At a time when music needs to move forward, Baloni is one of those rare groups that can show us the way. Fremdenzimmer is an album of unexpected exchanges, harmonies and patterns that fans of challenging and introspective sounds must give a priority listen.

Tony Levin, David Torn & Alan White

Tony Levin (bass)

David Torn (guitar)

Alan White (drums)

Levin Torn White (Papa Bear Records; 2011)

To say this is a unbelievable monster lineup is an understatement. Torn, known for his mystical and cerebral soundscapes in both rock and jazz for over three decades teams up with King Crimson legendary bassist, Levin (the two previous worked together on Torn's Cloud About Mercury release) and another legend, Alan White of Yes--recording an adventurous and infectious self titled project. The musicians have played or performed with each other in various incarnations but Levin Torn White is the first as a trio. Three extraordinary musicians set loose in the studio to create a cavalcade of sonic structures that just might destroy your speakers.

At times this could resemble one of King Crimson's Projekcts from the late '90s early '00s. But unlike those experiments, this trio have set forth to rock and have fun doing it. "Ultra Mullet" has a telling feel of "Thela Hen Ginjeet"/Adrian Belew era Crimson but the trio twist this thought quickly with some high power and intense pulsations from Levin and frenetic yet beautiful passages from Torn. "White Noise" is White's opportunity to have some fun on the sticks with a number of staccato beats aided by warning signals of Torn's guitar. The pattern begins to warp towards the middle with Torn and Levin sounding like a psychedelic ambient car wreck. Exquisite stuff.

Ambience is brought to the fore on "Convergence" in which Torn is the main focus. His chords scale up and down gently and are surrounded by various sound effects. A ballad of sorts but set in a distant spacial reality. "Sleeping Horse" should be a part of a John Carpenter film. A slow moving number with heavy bass inflections and eerie guitar passages that might follow our hero down the dark corridor to the final battle scene.

"Porn Night Of The Centipedes" is the closest track to resemble an "accessible" song. A groove-filled bassline covered with comforting guitar work and crisp drums. Until that is, we hit the middle passage and the group spin into a more gargantuan rock tone with rolling drum lines from White and crunching notes from Torn. You've been fooled, there's nothing tame here folks, just noise. Levin Torn White never let's you down; even in the closing moments. "Lights Out" punches left and right with each member making impassioned closing arguments with vigor and intense colour.

The Crismon comparisons are unavoidable but for those who may be unfamiliar with each member's work, you may relate to it from the perspective of recent records by Scorch Trio or Elephant9. Or even one of Torn's earlier projects, Lonely Universe. A combination of improvisation, fierce technical musicianship and calculated direction allows Levin Torn White to span multiple sonic heights over the course of just under an hour. Levin Torn White is a lot of fun and ultimate rocks. A must have session for listeners of both rock, fusion and free jazz.