Tomasz Licak/Artur Tuznik Quintet

Tomasz Licak (sax) & Artur Tuznik (piano)

Quintet (Blackout Music; 2011)

Andreas Lang (bass)

Anders Mogensen (drums)

Tomasz Dabrowski (trumpet)

A wonderful discovery for me in the last few days has been a quintet session from Tomasz Licak and Artur Tuznik. This fairly new (in terms of lineup) Polish/Danish quintet are young but possess the great energy and punch of their influences. The group combine a sensual style of contemporary modern with well crafted improvisation. Their latest release, simply titled, Quintet feels like mid-period Branford Marsalis or an adventurous One For All.

The group manage to sound well at home in the modern hard bop setting as they do when they let the rhythm fly. "Uwaga" comes pounding out of the speaker with vigour. Tuznik and Mogensen drive the beat with cinematic effect. Tuznik shapes the piece with somber relaxed movements intertwined with improvised changes. These are cut across boisterous chords from the horn section which make "Uwaga" a massive opening statement.

"Lightblub In Green" reminds me of the best moments of being in a jazz club and closing my eyes to the rhythm. Lang and Licak have a lovely exchange midway through that could resemble Jackie Mclean and Paul Chambers at their Blue Note best. The quintet quietly swing with verve and each member's contribution is heard crystal clear. The tone is lowered on the melodic and beautiful "Nardis" (also featured on their previous album as Last Call). It's a technical and introspective piece where Tuznik takes center stage and delivers a performance that slowly envelops you with very powerful emotions. Tearful.

While most of the material on Quintet has a contemporary atmosphere, "Hobbit" rips the cover off the box and the group conjure up a funky groove built inside patterns of free jazz. It may have the uninitiated shaking their heads and they will eventually be sucked into the groove. There are individual moments where band members create subtle colours and tones and then return to the fire free form of their original theme.

Quintet is a stellar addition to the brief catalog of Licak and Tuznik and they will definitely be one of the creative duos that we will be talking about in the next few years. I loved this record and think its a must for every music fan. And I'm not just talking jazz fans. This is the wonderful balance between contemporary and free jazz.

Orrin Evans: Freedom

Orrin Evans (piano) 

Freedom (Posi-Tone Records; 2011)

Byron Landham (drums)

Anwar Marshall (drums)

Larry Mckenna (sax)

Dwayne Burno (bass)

This has been a revealing or may even an extremely eye-opening year for me when it comes to Orrin Evans. I have always liked his music but never fully focused my attention on it in such detail as I have this year. With the release of Captain Black earlier this year, and a number of constructive arguments with fellow fans I have finally decided to pay attention. So when his latest release, Freedom, came out I have to say I was more eager to listen and I concentrated on every note.  I also have to say it is all worth it.

Freedom is one of the tightest and most well focused sessions from Evans in years. It's a tribute to a few of his influences and members he has performed with in the past.  This is essentially a trio record with McKenna adding some full-bodied and blues-like emotion to two tracks ("Gray's Ferry" and "Time After Time"). His playing feels like a young fearless Ben Webster. He packs a punch, especially on "Time After Time" in which Evans gives him rolling freedom throughout the opening few minutes before rising into the forefront with a potent dexterity that keeps the tune jumpin'. Both Burno and Landham (drums on this number), adds a lot of rich and fast paced texture to the number to really give it a timeless quality.

"One For Honour" rips along softly but with an uptempo theme. Evan's allows Burno and Marshall (drums) to lead the way. And they really craft this Charles Fambrough number into their own. Evans' performance is fierce, fluid and bright. "Oasis", written by Shirley Scott, contains an infectious rumba applied by Landham. Evans gives a steady hand to guide the melody. Burno pumps in some really nice patterns along the bassline.


While the album has its modern bebop sensibilities, Evans manages to round things off with calming effects on Herbie Hancock's "Just Enough." This soulful ballad pulls Evans in both classical (by technique) and jazz (by emotion and theme) directions and he gently guides the listener out from what has been a vibrant and fun journey.

Freedom is a strong statement and return to a small group format that helps Evans compositional skills shine as well as the talents of his band members. This year has really turned me around on the work of Orrin Evans and I hope everyone else too. Solid stuff indeed.


The first video is a great, interesting and fun look at the who, what and where of Evans' history.

Sebastien Bouhana: Tambour pas tant

Sebastien Bouhana (drums)

Tambour pas tant (Insubordinations Netlabel; 2011)

The deconstruction of the music industry over the last decade has resulted in a lot unfortunately things. But one of the positive byproducts was the rise of many strong independent labels and artists releasing their own music on their own.

Labels such as Rune Grammofon, Clean Feed, Brooklyn Jazz Underground, Audio Tong among others, globally have reinvigorated the creative scene. One new label has also taken the independent spirit one step further--Insubordinations Netlabel.

Insubordinations feel more like an artists collective than a label. The artists issue albums both as available downloads and physical CDs. Many of the artists and their material is very forward thinking. One artist that has captured my attention this year has been French drummer/experimentalist, Sebastien Bouhana.

Sebastien Bouhana solo release, Tambour pas tant (Translation: Drum Not So Much) is a real treat and challenge for any listener. And drum not so much is a good description of how this project moves along. Built around atmospheric themes and improvised movements, Tambour past tant is a refreshing look at the soundscapes an artist can create with the drum. "Evoquee" sees Bouhana sounding like searing guitar or a buzzsaw than drummer. It's an adventurous and dense piece that moves rapidly but very concentrated focus.

"Une Vieille Connaissance" provides a host of colours, crackles, swirls and found sounds that are like slow broken down train moving through a tunnel. "Tres Nettement" rounds out the three lengthy pieces on this disc. Consisting of the same elements as the proceeding pieces it does develop a small beat and rhythmic pattern underneath the chaos. Bouhana works in a similar realm as Jim O'Rouke or Sonic Youth. He is helping the listener search for their own conclusion within the soundscape--and that's the best thing music can do for a listen.

Tambour pas tant may be a challenge for many but its one of those records that will have asking questions of yourself. It is intense and will have you concentrating on every aspect of Bouhana's movements. Challenge and refreshing.

Tim Hagans: The Moon Is Waiting

Tim Hagans (trumpet)

The Moon Is Waiting (Palmetto Records; 2011)

Vic Juris (guitar)

Jukkis Uotila (drums, piano)

Rufus Reed (bass)

I have to admit I haven't listened to much of Tim Hagans' music in recent years. But I have always admired his ability to float and absorb different styles with each record. His Blue Note recordings from the late '90s (especially Animation Imagination) were early experiments of jazz and electronica that mostly European artists were exploring at the time. His latest, The Moon Is Waiting is a return of sorts, with less emphasis on electronics but still holding an expansion on his fusion ideals.

The opening three tracks were originally part of a dance ensemble performance but you would really never know that if you didn't read the liner notes. Hagans effectively has crafted three pieces that work perfectly on record as they do for the stage. This is a real sign of great compositional skill. The loose, funky rhythms of "Ornette's Waking Dream Of Woman" are powerful reminders of the best fusion material from Miles, McLaughlin and Zawinul. "First Jazz" is a beautiful number which Uotila and Juris sizzle. Their performs are measured but Hagans gives them a lot freedom within the piece. Hagans own perform is on fire when he breaks in midway. Uotila and Hagans then have a nice duet later in the piece that is killer. Both are flying with really intensity and depth.

"Boo" sees the quartet fusing a blues motif that Chicago and New Orleans would be proud of. Juris takes on a soulful and crying tone that is matched by the rest of the group. A rolling repetition in the chords allows you to sink into this number more than when it was originally recorded a few years back with a large ensemble. This time you get a deeper impact that is more heartfelt. "Things Happen In A Convertible" unfolds like a suite. It's midtempo throughout and each segment seems to highlight a different member. Romantic and endearing, "Things Happen In A Convertible" is a loving way to close out the experiments of the last hour. Great stuff.

While not having the chance to listening to Hagans music for quite a few years I was surprised how easy it was for me to fall back in love with his compositions and his playing. This just might be one of those under-the-radar records that you have must hear to believe. The Moon Is Waiting is wonderful.