John Coltrane: Live In France

John Coltrane (sax)
Live In France: July 27/28 1965 (Gambit Records)
McCoy Tyner (piano)
Jimmy Garrison (bass)
Elvin Jones (drums)

1965 was a furious time for John Coltrane. He had just come off the recording of the future landmark, A Love Supreme a year earlier and now was in mist of a series of quartet and ensemble sessions. By June of '65 Coltrane had recorded The Quartet Plays, OM, Kulu Se Mama, Selflessness and another landmark recording to rival A Love Supreme--Ascension.

Ascension was a massive work that feature a who's who of future jazz legends (Freddie Hubbard, Pharoah Sanders, Archie Shepp, Art Davis, Jimmy Garrison, Elvin Jones, Marion Brown, Dewey Johnson and McCoy Tyner). It is another spiritual masterpiece that is difficult for the average Coltrane fan to get their head and ears around. It is a cavalcade of sound and emotion that is similar in scope to OM. Shortly after its release Coltrane set out on a European tour with his current quartet. This formed the basis for the Live In France release.

A some people may know the French tour dates started on July 26 with a rare live performance of the complete A Love Supreme. This is now available on the deluxe version of the album that you can find a most record stores. The following two nights had been previously unavailable and they are well worth checking out. The main reason for this is the performance of "Ascension," which Coltrane at this point is not known to have been performed live outside of this occasion (please feel free to correct us if we are wrong).

The additional interesting part here is that the two performances of "Ascension" are done as a quartet. The original studio recording was done as a tentet. It is historic and amazing to hear this masterpiece in a much smaller setting and stripped of the larger free form aesthetics. The piece still keeps its rich, bold and illustrious beauty but it now encompasses a more intimate feeling that allows the listener a bit more time to concentrate and develop their own meaning. When you put these versions along side the original you do get two distinct versions which is truly the mark of greatness.

Live In France also includes stellar versions of "Afro Blue," "Impressions," "Naima" and "My Favourite Things"--all of which are have a dynamic element within themselves. The drum work from Jones on "Afro Blue" is incredible. McCoy Tyner delivers in magnificent fashion both nights on "Impressions." Coltrane is in blistering form on both nights and the sound quality is superb (I believe taken from a French radio program).

Live In France is probably only for the completest but it is an excellent document to go along side the A Love Supreme deluxe edition if you have it. A real treat for a Sunday afternoon listening session.

Breakestra: Dusk Till Dawn

Breakestra (group; formed 1996)
Dusk Till Dawn (Strut)

In the vein of The New Mastersounds but with the addition of revolving lead vocalists, Breakestra have evolved into a hybrid of Detroit Motown funk, Southern Soul and California hip hop lovin'. This is serious funk y'all. Fans of The Dirtbombs, Sharon Jones, The Roots, Poets In Rthythm and Broun Fellinis should take note of Breakestra, they are definitely the real deal. The US version of The New Mastersounds, maybe, but I think there is room for both Meters/Jimmy Smith-influenced soul groups.

Breakestra started on the on San Francisco club circuit by multi-instrumentalist, Miles Tackett. The group began at a local club the Breaks. They combined that name with one of their other influences Sun Ra's Arkestra and hence the soul funk hip hop Breakestra was born. After a series of DJ and club acclaimed 12''s and EPs and MixTapes (or in these case CDs) the band finally gained some major underground attention with Hit The Floor (Ubiquity Records) in 2005. At set melding their influences with great effect and featuring some killer riffs and funky lyrics. Hit The Floor featured floor-fillers "Stand Up," "Gotta Let Me Know," and "Family Rap". A fun, funky and fierce outing that is guaranteed to light up your speakers.

Brekestra returned in 2009 with an even funkier, soul jazz opus Dusk Till Dawn (Strut) which has everything you would want in a soul jazz band. There are infectious raucous rhythms and deep rootsy lyrics and long journey for peace and love. Opening with aptly titled "Need A Little Love" sets the tone for this wonderful tour de funk disc. The group pulls into Sharon Jones territory with "Come On Over" featuring Afrodyete, a mid-tempo burner that sure to have you sliding your feet across the floor with your lover.

Dusk Till Dawn also the wonderful call to arms for all the soul jazz bands on the scene with "No Matter Where Go" on where you can find soul across the globe. Dusk Till Dawn is definitely a funky ball-buster of an album but it's the softer moments that will make this a diverse and highly enjoyable outing. "I Don't Wanna Wait" and its instrumental counterpart "Me & Michelle" are great examples of those moments--a beautiful ballads (so to speak) that again demonstrates the band and album journey for peace, love and understanding among our fellow man/woman.

Breakestra have been on scene for too long without getting the recognition they so greatly deserve. I hope that Dusk Till Dawn is the statement that helps catapult them to the next level. Highly Recommended.

Kris Davis: Good Citizen

Kris Davis (piano)

Good Citizen (Fresh Sound/New Talent; 2010)

John Herbert (bass)

Tom Rainey (drums)

Kris Davis is one of my favourite pianist. I rank her right up there with Jason Moran and Keith Jarrett. Her compositions are compelling and inventive. Her newest release, Good Citizen is absolutely stellar. A vibrant and explosive trio session with regular collaborators John Herbert and Tom Rainey, Good Citizen is Davis' third recorded output this year (Paradoxical Frog with Ingrid Laubrock and SKM Trio) with a fourth coming before years end. All containing the rich cerebral outlook that makes Kris Davis one of the best musicians deserving much much much wider recognition.

Good Citizen opens with improvising title track smoothly sliding into point/counterpoint interplay of "Where Does That Tunnel Go", a piece that really demonstrates Davis command and freedom with her trio. The album bounces with exuberance and experimentalisim. This is post modernism with quiet accessibility.

Another favourite of mine which is very much in the downtown NYC realm is "Recession Special"-- a pulsating piece that rips itself up and down the scale. Very much what you would expect to see late night in a dark, dingy, New York club setting. It's follow up "Skinner Box" is more in he Cecil Taylor vein, quiet and minimal with Herbert and Rainey really coming to fore with Davis hold a delicate beautiful balance in the background.

Probably the most accessible track is "B Side" an upbeat boppish piece with some fantastic solo work from the always terrific Tom Rainey. A Monkish, Davis leads the group through a nice journey that will definitely have your head and feet bobbing up and down. Great stuff. "Human Condition" is wonderful ballad could easily become your late night theme. It's lovely and romantic but still has a sense of adventure that fits perfect with the rest of the surroundings.

Good Citizen closes with a number that featured earlier this year on the quartet album Paradoxical Frog, "The Iron Spider." This time without the rip current of Ingrid Laubrock's saxophone. But as a trio piece, "The Iron Spider" still packs a huge avant garde punch. Kris Davis fills in the gap with the same verve and excitement. The two pieces aren't drastically different, there's a bit more detail from Herbert and Rainey in this newer recording but at the end of the day it is a stellar piece of work written by all three musicians.

Good Citizen just might be the most varied session to date. It is by far, the must have for any one interested in the current crop of free jazz artists. Good Citizen is definitely in my best albums of the year category. And Kris Davis is one of the most important pianists working today and deserving of a wider audience. I hope after you listen to it, you agree.

Bobby Avey: A New Face

Bobby Avey (piano)
A New Face (JayDell Records)
Thomson Kneeland (bass)
Jordan Pearlson (drums)
David Liebman (sax)

Great jazz doesn't always have to come from Europe. Sometimes it can be right in your own backyard and you don't even know it. That's what you may find out when you take a listen to the debut from Bobby Avey, a New York state native now living in Brooklyn. A New Face (JayDell Records) documents the strength and complexity of this young new talent to the scene.

With influences ranging from Bach to McCoy Tyner, Avey and his trio consisting of Thomson Kneeland (bass) and Jordan Pearlson (drums) explore similar creative themes like European counterparts Neil Cowley Trio and hard-edged poly-rhythms of E.S.T.. Big statements yes, but
A New Face definitely delivers with surprising results.

A New Face opens with "Late November" a multi-layered piece driven by Avey's delicate improvising at the piano and countered by some stellar interplay from Pearlson and Kneeland. The trio have been together for over five years so the understanding of each members movements is expected but it is still impressive to capture it in one session throughout the entirety of the recording.

The group are joined by longtime collaborator and renowned saxophonist, David Liebman for four numbers including the title track "New Face" and "Time Unfolding". Liebman's playing is exquisite and fierce throughout and probably one of the best sessions I've heard him perform. Liebman collaborated with Avey in 2006 for a reinterpretation of classical pieces. The two again show their unique bond on the duet "Influence", a lovely ballad that flows effortlessly into a battle of interplay resulting in a pleasant hypnotic denouement. A really beautiful piece that is probably my favourite track on the album (for right now).

A New Face closes with "Time Unfolding", a blistering quartet piece which Liebman leads the trio through a series of crisp, distinct and rolling rhythms that allow each member to stretch their abilities. Avey's movements are precise and mature--exactly what you expect from young and creative new comer. Bobby Avey and his trio may have more up their sleeve than we know. I hope so because this is an impressive debut that I may be telling you about again at the end of the year. Awesome!