Monday, June 26, 2017
Stale Storlokken appears on Fender Rhodes, synth and electronics; Thomas Stronen is on drums and electronics.
What you get is a very electric-electronic set of hard avant rock-jazz freedom, a sort of evolved psychedelia the way things are in the constant process of panning out today.
Stronen steps forward with the busy rock-funk-jazz depth that you might (and rightly so) trace back to Jack DeJohnette on Miles' "Live at Fillmore." It is a further evolution of what playing time can mean when it is dealt out in strait-eighth rock measure, only smearing bar lines and extending the variations endlessly as bop drummers like Klook learned to do with swing.
And Stale has much to say, freely and bent with fuzzi-cosmic grit or at times cleanly coming forth in sound yet retaining an outside styling both inventive and soulful.
This is one of those albums that asserts and realizes much that heretofore was somewhat latent in avant-free jazz-rock. And it kicks it! Oh, it does!
This is music to check out for sure! Happily recommended.
Monday, June 19, 2017
Those who know these four and their freely inventive prowess should not be surprised. Though I am not in the position to keep score, they have all played together in various combinations and surely belong together. There is nothing casual about these improvisers--everything I've heard of them has a huge sense of purpose and an advanced open form seriousness that often enough verges on the sublime. So I naturally had lots of expectations when I put this CD on my player.
To say I was not disappointed is to say that all the four can be inventively is very much present here. The whole is the greater for the Staub Quartet formation. Each plays a role and as you listen to the six segments you revel in how the colors and textures of the instruments in the hands of these masters come to create totalities that are consistently near breathtaking and sometimes well beyond that.
There often enough is a kind of gestural complementarity between bass and cello, for reasons that have to do with their potential as rhythm section choices in more conventional jazz, but then both Mira and Faustino can of course function as horns and convincingly so. Or of course both are supreme colorists and find a place when there are two-, three-, or four-way blends of that kind of thing. Make no mistake however, this music channels historic jazz only in the most convoluted and indirect ways. There is a kind of "soul" to it all, but a different kind. And the lining is not naked linearity but collectively simultaneous. So does it sound like Armstrong and Oliver? Well, no, not really! So do not expect that. Do expect the outer fringes of avant jazz and new music to have some relation to what you hear.
Zingaro is a supreme solo line-weaver on violin but he can and does also blend his special ways into the whole. Marcelo transforms his guitar sound (whether prepared or otherwise) into the totality so much so that you have to remind yourself that the fourth line is a guitar line. Sometimes he becomes such a shape-changer that he transcends his instrument to become a pure aural force in the complex mix. Listen once through just for him and you'll be surprised and enlightened as to what he comes up with.
All four of course form the matrix that makes all the difference on this album. Nobody is the "star;" the various organic growths they nurture in the six segments have a natural yet uncannily "forward" quality that you must hear with focused intent, to expose yourself repeatedly and gradually to get the full appreciation this album demands and deserves.
It is one of the best outings of all four and it is one of the best "fours" in avant music outings today.
You want to know what is new and important ion free improv? This is one for sure! Excellent!
Monday, June 12, 2017
So to me a new release of just ballads is unusual, more so than perhaps it used to be. Tenor-soprano Michael Pedicin is one of the exceptions, as he shows with a second volume of ballads: As it Should Be, Ballads 2 (Groundblue Records).
The album is nicely put together, with eight worthwhile compositions by Johnny Valentino (the guitarist here as well), plus "Bridge Over Troubled Waters" and Coltrane's "Crescent". Pedicin is out front with some very fine effusions on tenor and soprano. He is well seconded by Valentino on guitar and Frank Strauss on piano and Rhodes. The rhythm team has a subtle but swinging role. Mike Boone on bass, Justin Faulkner on drums and the well-known Alex Acuna on percussion distinguish themselves with a proper backdrop for the pellucid and stirring solos.
It is one of those CDs that can be ear candy for the uninitiated yet have full artistic presence for the cultivated jazz listener.
Give this a spin!
Friday, June 9, 2017
This is a free trio with a decided difference. Henry Fraser is the double bassist, Dre Hocevar the drummer, and they both contribute much to the outcome. But it is Clarke's pianism that especially wins me over. He has a well developed harmonic sense and a great touch, yet he fits in not much at all with the Paul Bley vs Keith Jarrett-Bill Evans vs Cecil Taylor schools. Actually if I think about it he may have some affinity with early Burton Greene, but not in any obvious way. And there is a jagged quality that may channel Bley but only in the most whispie sense.
He covers spooky ambiance and topsy-turvey free rolling post-swing. And he does it in his very own way. It is an album that hangs together very well.
Zack and trio bring to us another way to slice the avant pie. It is a pleasure to hear and experience this. Something new!
Thursday, June 8, 2017
Supernovae is a live, nearly 80-minute sonic extravaganza that the group let loose with at the Somerville Armory last year. There are endless combinations and permutations of the vast instrumental capabilities and timbral combinations of which the ensemble is capable. Some sort of compositional-conductional schema is clearly at work throughout.
However PEK and his ensemble regulated their sound and silences, their assertions and combinatory presences, there results torrents and trickles, small activated cells and large tutti outbursts fascinating and moving to hear. All 21 players use the freedom available to them wisely.
The finished product has the excitement of the best free large ensembles of Silva, Rivers, Taylor and JCOA. It is excellent fare for the dedicated avant jazz aficionado.
It that describes you, then this is doubtless for you! It is a very worthwhile listen.
Monday, June 5, 2017
So we plunge in, or rather I do. You are the readers. It is up to me to speak. I hope of course you will read. The Peter Erskine Trio with John Taylor on piano and Palle Danielsson on bass had four albums come out on ECM, 1992-1997: "You Never Know," "As It Is," "Time Being," and "Juni." In the interim a good deal of time and change has effected us and our world. John Taylor is no more. We have been flung into the future willy nilly and it is not what we expected. Meanwhile the ECM folks have seen fit to re-release all four albums as a box set retrospective entitled As It Was (ECM 2490-93).
And so the music emerges once again for us to reconsider. I will now admit to you that the period of 1992 through 1997 was alternatively one of poverty and then incredibly dense activity for me. I had almost no time to follow what was coming out, and so I missed all four of these albums.
The result is that this retrospective is to me something totally new. In the end it should make no difference. What is worth hearing or rehearing now is a matter of worth TO US who still stand (or sit) in the ever-passing world of music available for the hearing. Either the music speaks to us right now or does not.
As It Was most certainly DOES speak to me at this waystation of my life. I have come to appreciate the late John Taylor as a pianist of world-class stature on the contemporary jazz scene. If I came to him via several of his own albums instead of this trio, it does not matter. Similarly of course both Palle Danielssohn and Peter Erskine I have long appreciated for their superb artistry.
These four albums today sound as fresh and current as anything coming out on ECM now. Taylor provided most of the compositions, Danielsson others and a few covers are a part of the set.
What endures and catches our ears is the enormously subtle interplay of the three. They interact in full complementary synch, with a beautifully spacious balladic sprawl or a sophisticated swinging pulse.
And as you listen you feel that the ECM piano trio legacy that has been so much a part of the label's contemporary presence is notably represented by these sides. There is harmonic lush expansion, there is a compositional rootedness and an introspective-turned-sometimes-outward feel that makes all this music as capacious (roomy) as it is understated and profound.
Any contemporary jazz piano trio adept will find in this set much to explore and grow into. It is not a loud music, but it is originally expressive and consistently so. Listen if you can!
Friday, June 2, 2017
Xavier and Sxip do the vocals and both are excellent. There are instrumentals, too. All of it has a brilliant arranger's touch and a very hip memorability. Lyrics are something to ponder but nothing I would want to categorize on this page. Some seem well beyond the range of pop radio!
The combinations of electro-synths and conventional or unconventional instruments are uncannily out of the ordinary. And the more I hear it, the more distinctively compelling the music seems.
Sxip is not an ordinary commercial artist. The commerciality is twisted and turned so that people may dig it but it speaks originally and satisfyingly on its own terms. Is Sxip the new Brian Wilson/Van Dyke Parks? In a way but not in a way you'd expect. Does that get your attention? Well this disk got mine!
A real ear-opener!
Thursday, June 1, 2017
To describe the music is not easy. There are early music influences, folk strains, a contemporary new music element and an avant jazz aura about it. There are very gentle moments that you do not often find in this sort of music, and a thoughtful sort of expression. And there is fire!
There is no one who quite sounds like this. If you have patience and take care to give it a close listen, Glendalec will open up some very eventful and unique musical worlds within which you can dwell at length. I looked to her discography on her site and there is much more. Here is a good place to start. Then if you are like me you may want to explore what else she has been doing. Oh, look her up on my search box above for another one I reviewed and liked.
Monday, May 22, 2017
You might not know what to expect, or I did not at least, by looking at the personnel and instrumentation. The jacket tells us that the trio is made up of Joe Moffett on trumpet and cassette player, Dan Peck on tuba and cassette player and Carlo Costa on percussion. What we get is a beginning with little sounds, microscopic fragilities, quietude of a carefully, creatively mapped out spontaneity.
Only in time does the music become ever more present, in ways that remind one of some of the pioneering new music improv groups (MEV, AMM, etc), only updated and personalized for the now we live in.
All makes an artistic sense if you just let it be. The unfolding is the all. And with that we can actualize our listening self to become something other. Such is the best sort of avantdom.
Friday, May 19, 2017
And now we have a further example of his, another clear sign that the momentum of his most creative period to date is in no way at an ebb. The new one is entitled Chants and Corners (Clean Feed 416). It incorporates deftly electronics manned by Mazurek, Guilherme Granado and Thomas Rohrer. Mazurek is also on cornet and on piano for one track, Granado is also on keys, Rohrer on rabeca, flutes and soprano. Then there is Mauricio Takara on drums plus Philip Somervell on piano and prepared piano. The totality of the ensemble is as primary as the quality of the improvisations. It is a joyous noise we hear.
To parse each part in a description is perhaps to miss the point? On the other hand one cannot help but appreciate Rob's stunning cornet work. Everybody does the right thing, though. Giulherme's and Philip's keys-piano work is rompingly appropriate. Mauricio drums up a froth. And Thomas adds significantly on reeds. But it is all this within an electronic wash that puts things on a collectively higher plane.
It is nothing less than what one would expect from Mazurek at this stage. But then it is also more, a further development, a remarkable fluency of free musical expression taken another step forward.
Thursday, May 18, 2017
So, thankfully, there is more coming out. There is another set I'll be getting to but first a single disk release, In the Diaspora of the Diaspora: Hell with an Ocean View: Down and Out Downeast (Constant Sorrow 999). I can identify with the title because I am living it, too. The world is very beautiful but nowadays very hellacious, as anyone reading this might know.
The album begins as is Allen's way with an excellent cast, Allen of course with his inimitable alto and then Nels Cline on guitar, Ray Suhy on guitar, Matthew Shipp on piano, Kevin Ray on bass, Larry Feldman on violin and mandolin, and Carolyn Castellano on drums. The "big names" give us key contributions, but then again so do the "smaller names." Allen however is the guiding force on alto that makes it all come together.
The originals are open, mostly changes-based gems that show Allen has absorbed fully the roots of avant jazz (whatever those are in their great plentitude). He has worked his way through the myriad avenues and byways, doubtless a long process that has led him to his own original path. That end discovery of his musical self after such an extensive exposure to what has been is of course not at all the norm. Not many have so fully slogged through it all as he has. It is key to his music, that working through and beyond.
Each piece is memorable in form and melodic-harmonic movement. They open the way to improvisations of stature.
This is a great place to start if you do not know Allen's music, and you should. It is an additional and very rewarding temporary resting point if you already know him. Either way the music is vital, jazz of the most developed sort, reaching some of the highest planes of attainment on the scene today.
Can you tell I recommend this unreservedly? I do.
Wednesday, May 17, 2017
Neither this writer nor the music he covers today is about to "sell out." Yet in fact the music has the ability to garner a wide appeal if things were different out there. Maybe it will after all.
I speak of the collaborative teaming of violinist Jason Anick and pianist Jason Yeager on the album United (Inner Circle 067CD). It consists of some evolved originals by Anick and Yeager, some selected compositions by Zbigniew Seifert, plus Harrison's "Something" and Miles' "All Blue."
There is a slight classical element to be heard in the originals but a pronounced contemporary jazz center that shows off the very focused abilities of Anick and Yeager, a rhythm team (alternating, two different ones) and some guest appearances by trumpet and saxophones.
The spotlight is squarely on the two in fascinating interplay. If the material reminds of Burton or Corea in classic phases, perhaps that has something to do with the Berklee nexus of the players? I does not matter. What counts is the beautiful musicianship of the team and how they extend and interpret the compositions in a total gestalt of intertwining poetics.
Anick is a hell of a violinist and Yeager a wonderfully alive pianist.
It's all good.
But no matter. Frantz Loriot is the viola master I speak of above. The 2014 recording of his solo viola improvisations is entitled Reflections on an Introspective Path (neithernor n/n 002). I covered Frantz's large ensemble compositions the other day, and he has distinguished the proceedings of a number of improv ensembles as violist. I've covered a number of these as well, as the index search box above will reveal.
In spite of all that (and it is excellent) this recording perhaps represents the ultimate challenge. Hit the studios with only yourself and your viola. Create a CDs worth of edgy solo viola improvisations.
The key to such an outing is expressive invention. Frantz Loriot has that. He disregards much of the time the accepted conventions of string technique and instead forges his own path of timbrally rich, counter-"legitimate" extensions of the sonic possibilities of the viola. And each of the seven improvisations contained on the album concentrates on a particular extension complex and its expressive potential.
In the end we have an ever-contrasting series of adventures. Loriot is not content to stay in place, but rather to confront a widening vector of extended techniques with a free jazz fire and a new music recombinatory abstraction of means.
This will not be everyone's cup of tea. But for those who let themselves open up to the sound dynamics Frantz so single-mindedly masters on this program, it is a revelation. As the Marcel Duchamp quote on the album sleeve implies, sometimes you have to free yourself of the technical habits of normality in order to create anew. Loriot does this consistently and poetically.
And so you who seek to go beyond need to hear this.
Monday, May 15, 2017
The Invariant (ECM 2523) alludes both to the persistence of the trio and its consistently high level of musicianship. That Jahnel should be an ECM artist is also an invariant--of the label's initial and continuing attention to some of jazz's most innovative pianists, beginning of course with Paul Bley and Keith Jarrett and following through to the present day. The most distinctive of the ECM ivory manipulators have much in common: a highly developed harmonic and melodic sense and the ability to swing as strongly as they can create lyrical largos of great creativity.
Jahnel is one of the very best of the current crop of artists. He shows you that dramatically on the album--just as the trio of himself, Antonio Miguel on double bass and Owen Howard on drums drives home the extraordinary evolution of the modern piano trio as we now experience it. All three artists are integral to the outcome, the years of recording and gigging making themselves felt with a palpable excellence of interdependence and interplay.
This is as fine example of the piano trio art as you are likely to hear this year. It is a celebration, a tribute to dedicated continuity and growth.
By all means, hear this and be moved.
Baker brings his chamber percussion set and its ubiquitous washboard for a discerning barrage of freely articulated small sounds. Roberta Piket sounds out responsive, advanced lines that come out of a Taylorian-Bleyian-new music lineage, opening up the harmonic center to a greatly expanded chromosphere. Cheryl Pyle is in excellent form on flute, deftly winding her way through the full range of the instrument and the open-form chromatic choices that are part of her hallmark.
In the 30-minute set presented on this album we get a number of contrasting moods and some striking trio interplay. It is one of the best for this trio and Cheryl, a refreshing offering of what makes this band something altogether else! Listen and enjoy.
Thursday, May 11, 2017
All compositions are by Loriot, except the brief "To HR," which is co-composed by Loriot and Perovic. There are nine musicians involved in the band, an international intersection of worthy players: Loriot's viola of course, plus two reed players, trumpet, trombone, electric guitar, cello, doublebass and drums.
A broad wash of collective and individual improvisation moments set off and make alive the compositional elements. From the vamp-like chord progression integral to "West 4th," the abstractions and harmonic underpinnings of "Division," the song form and changes on "To HR," and so forth all the way through the album's sequence, there is a close fit between the writing and the improvisational spirit that brings the music to life.
And in the process free improv and compositional structures blend together to create a music than is more "both-and" than it is "either-or."
The result is a music that is neither strictly avant garde nor is it mainstream. It has an outness to it that brings foundational elements into play that the uninitiated listener might hang her or his ears onto to guide the experience and make it more readily accessible than a strictly avant journey would.
What matters is that the music hangs together as a whole, that all elements work together to create an interesting and satisfying musical experience. There is plenty here to dig into.
And I recommend you do that!
Monday, May 8, 2017
His sidemen are the right ones for this date. Damian Espinosa on piano and keys, Marc Piane on acoustic and electric bass, and Steve Corley on drums have what it takes to motor the music along, add their own personalities and solo effectively. Greene stands out in the end as a player of finesse and soul, thoroughly immersed in his version of the contemporary style.
The set is together and in the end a beautiful listen. Greene is something new and worthwhile. Hear him.
Friday, May 5, 2017
Much of new avant jazz today may be misunderstood or unappreciated by those who have not taken the effort to live with such sounds over an extended period. As the great John Coltrane told a Japanese interviewer many years ago, "It is something that you may understand over time, or you may never understand." I am quoting from memory so I may not be giving his exact words, but the truth remains.
How long it took me to understand fully the free improvisational art form we are blessed with in our time is not easy to reconstruct exactly. I delved into it all when quite young and back then there was a spirit of growth and a need to question the world that predisposed me to explore such things, so that when I first heard Coltrane's Om I immediately felt the importance of the music, though I did not understand it yet. It was something "in the air" then, something that went along with the spirit of the age. I eventually listened to more and more of this kind of music and there was a number of years I put into the first effort, understanding growing with every new artist or recording I surveyed. There was no "aha" moment because understanding never ceases to grow if you allow it. Now there may be less inclination for people to travel beyond their typical comfort zone today. Or I may be wrong. My neighbors for sure have no real idea of the music that they may overhear me listening to. But their natural curiosity is not obvious. They may be too old for that?
The point in this is that you either have a need to expand your being for whatever reason, or you maybe do not. Those who don't may never come to the music. Others may find they are ready for the truly new.
It is those in the second group who along with avant jazz converts may find Vessel in Orbit (AUM Fidelity 101) of intuitive or concrete importance. It may hit you immediately or only after several listens. But it is built into this music and only needs your participation to complete the communication, to create for your being the art that is intended to be a gift to you.
The music is a product of the fruitful meeting of Whit Dickey on drums, Mat Maneri on viola and Matthew Shipp on piano. Eight free improvisational segments grace the album, each a coherency that can stand on its own or add collective weight to the whole album in sequence.
The threesome is primed and filled with great musical ideas. Maneri is less often heard with these two co-creators than the two co-creators have been heard together. In fact a previous meeting on disk with either has escaped my memory if there have been any. Whit was a full-time member of Matthew's trio for a long while and so the two have had a good deal of time to forge a dialog. Whit has as I understand it been ill for a time, so there has been a refreshing pause in their musical discourse. All sounds extremely well with the two here, for sure. They jump right in where they left off.
Maneri sounds completely at ease on this album so if there may be less logged-in musical interaction between himself and the other two, there is an immediate connection they make here. It is some of the finest Maneri moments I have heard on record. He unleashes torrents of pristine improvisational lines, unpredictable yet sounding totally right for this trio context.
Matthew Shipp seems to find that the relaxed gathering puts him in the mind to upend his creative vessel and let great things pour out continuously.
Whit takes advantage of the open potential of the trio to create ever varied patternless freedom via continually significant drumming. So this is pretty momentous, all of it!
There are times when the history of jazz makes an allusive appearance via a kind of style quotation scenario, but then it is mostly improvisations that have the purity of the now, the eloquence of the making present of the present.
The music is not so much energy directed, though there is much energy. It is a three-way willingness to speak with new words, to make sense out of the previously unexpressed, the potential to express.
The result is very beautiful! You who do not know what freedom is might start here and perhaps change your life. Those who already know will find joy in this outing. It is exceptional.
Thursday, May 4, 2017
There are three compositions by Fujii, one by Tamura. They show us a dynamic and exciting band running through with interpretive and soloistic acumen the well-sequenced thematic, sectional, individual and collective improvisational-compositional excellence one comes to expect from the Fujii/Tamura ethos.
You are in the process treated to endlessly recombinatory improvisational pairings and solos along with some blisteringly hot or alternatively introspective compositional elements.
It has all the Fujii complexities and memorability. In a selfless way what it does not have is the Fujii piano, or for that matter any piano playing whatsoever. But this band is filled with excellent musicians who are called upon to create vast expanses of cosmically charged sound.
It is important music, something anyone following the cutting edge of the new jazz should definitely hear.
Wednesday, May 3, 2017
There are song structures along with an avant freedom, in a contemporary mix with an eclectic edge that it seems an increasing number of new jazz artists utilize in personal ways. Bennett has a mastery of the flowing contemporary line that reminds me of the "Beatrice" phase of Sam Rivers, or for that matter the in-and-out complexities of some of jazz's greatest of '60s-and-beyond masters.
So there are loose funk modes and beautifully swinging grooves, free "rubato" adventures, all of it forwarded in nicely attractive, spontaneous ways. The rhythm section does quite a bit more than pull their own weight. Mannheim and Stein are schooled and soulful teammates that set off Bennett's very considerable sax facility and imagination.
Bennett has no trace of the derivative lick folks who were coming up a while ago. He is blessed with the seeming ability to hew his own lines at all times, none of them overly beholden to the masters that have come before but also permeated with the essence of later jazz developments.
There is a very enjoyable and moving straddling of past and present, innovation and respect for the elders, jazz art essentials and future movement instantiations. This is movement and it is also a joy.
Bennett seems destined for something important. This trio already is there! So check it out.
Monday, May 1, 2017
One gives us a strong set of originals, a tune by George Schuller and a couple of American Songbook and jazz standards. Throughout there is attention to song structure, including the changes underpinning where applicable, but a freewheeling freedom that also places the music comfortably in the avant camp at times.
Cameron's excellent bass work forms the rock-solid core around which everything turns. He can spell out the changes in a masterful way, he can solo with real authority, and take the free-oriented segments under his wing with creative thrust, Gerald's drumming can swing fabulously and/or open the freedom feel up with a control and flourish that makes him indispensable to the whole.
Jason springs forth on One as a fully mature tenor-soprano man of true stature. If at times I might feel this trio encompasses the roots of the pianoless trio from the pioneering Sonny Rollins units through to the Sam Rivers trios at their best, it is because Rigby has a command over the saxophone in its historical sweep and forges a language of his own in the best traditions of a rooted launch upwards. And it also strongly goes into a new way of old with the beauty of the Cameron-Cleaver rhythm team.
With a few listens you come away with the feeling that THIS is what great jazz is all about. There is a fluency and mastery that is timeless. I get the feeling I had listening to early Chico Freeman albums--that here is a player destined for great things.
I think I'll leave it at that for now. Listen to this music, please. We are in good hands with Jason Rigby. He doubtless has a role to play in the future of this music. I am heartened.
Thursday, April 27, 2017
The fare is an engagingly arranged mix of very familiar and less familiar Brazilian tunes--by Jobim, Gismonti, Nasciemento, etc., plus one original. The band comprises a well selected group of some five instrumentalists, plus guest Tom Lowry on percussion. The regular group is Ryan McNeeley on guitar, Behn Gillece on vibes, Tom Moon on tenor and flute (who also produced the album and gives us the original tune), Mark Przybylowski on acoustic bass, and Jim Hamilton on drums.
The tight-knit ensemble parts swing brightly in a mostly samba framework. They are very well wrought. And the soloing is appropriate and creatively alive.
So if you are a fan of the Brazilian jazz zone like I am, you should find this one like I did, nicely done and very appealing. It's an EP by the way. Kudos!
Wednesday, April 26, 2017
Cheryl is on flute, alto flute and spoken word; Max Ridgway appears once again on electric guitar; and Randall Colbourne plays the drums. Each has a role to play in the ongoing free sequences and distinguishes our aural space with a closely interlocking three-way interplay that becomes considerably more than the already vital contribution each makes. It is the way the three become one that makes this music stand out. They have played together for quite a while and by so doing have developed a special kind of free rapport one encounters rarely in the free jazz firmament.
It is a sort of naturally relaxed impressionist freedom one encounters throughout. Cheryl is at her best, lyrical, textural and limpidly eloquent. Max rejoins her every phrase with well chosen guitar intelligence. And Randall completes the circle with subtle attack and a ready immediacy that is just right for the chamber ambiance the trio projects so well. Each establishes a very personal style of their own but then alternately gives way and springs forward with three-way line flow. You hear a never ending outpouring of modern melodic and harmonic advance. And that of course is a very good thing.
The music never flags while managing to create a special world one dwells within willingly and happily. If you do not know this threesome, here is the place to start. If you already do, this will no doubt increase your appreciation. Thanks for this, you three!
Thursday, April 20, 2017
Loafer's Hollow is the second MOPDTK to take on early jazz as the building materials for a post-post jazz present. All of the music here has been composed by bassist Moppa Elliott. Each of these pieces takes on one of Elliott's favorite writers, with the cadence of the words forming an underpinning for the rhythmic articulation of the music. We do not need to know this to appreciate the results, but it doesn't hurt, either.
The MOPDTK transformation of early jazz to me is on a par with excellent tributes in such a vein by Charles Mingus (especially "My Jelly Roll Soul") and some more recent jazz compositions by Allen Lowe, a living breathing artist you should also know if you do not.
Founding MOPDTK members Elliott, Kevin (with that snare drum) Shea as the brilliant early jazz drummer parodist, Jon Irabagon as the sax light of our times (one of them), and the Ron Stabinsky open piano stylist and de-stylist of high caliber...they join a perfect choice of stablemates in bass trombonist Dave Taylor (do I need to say?), Steven Bernstein as trumpet and slide-trumpet monster and Brandon Seabrook as the ideal banjologist for this date (also on ectronics!) and that's all...you need!
It is as brilliant as an SCTV episode, as unexpected as a cauldron of boiling water in the middle of a blizzard, a barrel full of monkeys o'serious fun.
Damn, I love these guys. Get this one.
Friday, April 14, 2017
It's Joachim and his "New Trio." The album is Beauty & Truth (ACT 9816-2). With Joachim is Chris Jennings and drummer Eric Schaeffer, both in every way worthy.
This is an expression of the growth of the artist over the years. You have a great Ornette piece (the title cut "Beauty & Truth"), two perennial and unexpected covers of the Doors ("The End" and "Riders On the Storm"), "Summertime" by Gershwin, a couple of memorable Komeda gems, a Gil Evans classic, and the rest some potent Kuhn originals.
There is a contemporary acoustic jazz and rock plus a free wheeling sort of feel that has something to do with the Jarrett trios at the core but ultimately restates the Kuhn piano trio ethos.
Joachim is in great form, a pianist's pianist. This is pure joy to hear for me! The New Trio rhythm section is right where they need to be, both very much on top of things.
I must say I dig this one profusely! So, what, do I love everything I hear? Absolutely not. But everything I love gets on here sooner or later. This is one. Kuhn is one of the pianists of our time. He still is and you need to hear that on Beauty & Truth.
Monday, April 10, 2017
Martin is on alto and tenor, along with a very committed and effective group: Zethson on piano, Stahl on vibes, Broo on trumpet, Kajfes on cornet, Aleklint on trombone, Hegdal on baritone, Berthling on double bass, and Werlin on drums. The band has great character and plays the compositional elements with a zest and verve that bring the smoking fire of this music in full aural view. Collective improvisation, melodic abstractions and riff underpinning meld together for some wildly ecstatic jazz. Solos are peppered throughout in excellent ways. And as you listen you know that this is the music of right now, modern in its determination to go beyond, filled with soulful exuberance and downright lucid musical outbursts of brilliance.
Five compositions distinguish themselves with a band that steps forward to realize it all with a perfect zeal. Kuchen's music stands out rather unforgettably as a new something, related to what has gone before in the advanced avant echelons. Maybe you recognize a debt to George Russell in its layering of multiple lines and extroverted collectives and solos atop riffs. A debt but absolutely fresh and new for all that.
This is one hell of a set from a talented band and the sure compositional forms and substance of Martin Kuchen's enormous talent.
This album is just terrific and I cannot recommend it more highly. It points I hope to much more from Martin, for this is extraordinary!
Friday, April 7, 2017
As much as I have admired Sommer's drumming over the years I have never heard one of his groups, so this got my attention. With him is trumpeter Manfred Schoof, alto sax and alto clarinetist Gianluigi Trovesi, and bassist Antonio Borghini. Schoof was part of Sommer's 1979 quartet; the other members are new.
What I had hoped for took place that day when they appeared in concert (though I could not be sure beforehand what that would mean): everyone was in great form and the music covered a wide swath of avant jazz possibilities from classic Ornettian harmolodic swing to that which lies beyond.
Nicely fashioned compositional frameworks by Sommer (4), Schoof (2) and Trovesi (1) set the stage for some very fine improvisations and group interplay. Sommer's drum solos and ensemble work are masterful and incisive. He simply sounds great and very much at his best. Schoof and Trovesi more than keep up the pace. They sound as brilliant as ever. Borghini is a solid backbone to it all.
It is one of those albums that gets your ear-attention immediately and consistently. And it keeps blossoming forth the more you listen.
In short this is a great big happy surprise. 73-year-old Sommers still has it and the band is as exciting and capable as anything in the new jazz realm today. Drummers and their friends will dig this!
Monday, April 3, 2017
Hershkovits has a style that is out of Corea, post-Jarrett, Hancockian, and beyond to today. It's up-to-the minute fresh, with excellent technique and a singing projectiveness. Lligadas keeps the forward momentum grounded in the changes and helps keep that horizontal movement nicely structured. Xavi's drumming is driving, rhythmically creative, well conceived and in its own way a very important, critical contribution to the trio's melodic-propulsive brilliance.
And Xavi writes some very nice tunes that are as fresh as the trio's realization of them.
The more I play this one, the better it sounds to me. This is a trio that deserves wider exposure. They are firmly in the "art" realm of piano trio creating. Hear this.
Friday, March 31, 2017
Antonio Adolfo comes through with excellent Brazilian Samba-tinged arrangements of eight Shorter classics, plus his own "Afosamba." The idea of "HYBRIDO" is to find fertile meeting ground between the jazz samba tradition and classic progressive jazz as embodied in Shorter compositions. Adolfo plays piano throughout, very nicely and movingly, something we have happily come to expect of him. And he has selected Brazilian musicians who can and do bridge the stylistic gap with some excellent soloing and ensemble playing. So we have the electric guitar of Lula Galvao, the double bass of Jorge Helder, the drums of Rafael Barata, the percussion of Andre Siqueira, trumpet of Jesse Sadoc, tenor, soprano and flute of Marcelo Martins, and trombone of Serginho Trombone, along with single guest appearances of vocalist Ze Renato and acoustic guitarist Claudio Spiewak.
It is a joy to hear these really fetching arrangements, both classically Brazilian and outreaching into the present and future. Shorter gems like E.S.P., "Deluge," "Footprints," and "Speak No Evil" sound brilliantly fresh in Adolfo's inspired arrangements. And there is time to stretch out and get good soloing from all concerned. Adolpho takes a rewarding share of the soloing and sounds just right, but then so do the others.
From Rio to Wayne Shorter is one of those albums where everything comes together very strongly. Any fan of Shorter's music and/or anyone who loves the Brazilian jazz of today will no doubt find this album much to their liking. It's a winner on all counts!
Thursday, March 30, 2017
They distinguish themselves in a sort of utra-focused, carefully considered five-part improvisation recorded live. The album is entitled June (Helix LX009) and it is a good one.
The expanded unit allows a series of double duets and six-way confluences. And so to begin we hear twin prepared pianos, twin trumpets in breathy expressions, and twin drums creating distinctive barrages. As the set proceeds we get the intermingling of the pairs and their recombinations in various foreground-background-bothground possibilities.
All six play with a sureness, an impressive authority that at no point sounds tentative, always intricately definitive, sure in their choice of timbral color, periodistic presence and note-sound nowness.
It is free music in no hurry to state it all at once, but rather to open and develop with a gradual inevitableness that is continually rewarding in what it chooses to include (and of course by that to also leave out in any given segment).
With a collective sense of instrumentation-orchestration there are dramatic event arcs, coming to a quiet peak in the two-piano expressions of part four, which we have been prepared for by definitive journeys into this clearing. It is brilliant and by a period of quietude and then the end of part five we are pleasantly satiated and satisfied, appreciative that not ALL has been said, but all that is necessary to give us Trouble Kaze's June.
It leaves me wanting more in the end, but happy also that this glimpse feels complete in itself. meted out inspiration and sound design of a high nature, a thoughtful forwardness.
June gives to us itself, the six instrumental voices interacting singularly, the group asserting its collectivity in self-less yet self-ful completeness-incompleteness.
This is a prime example of the innovative presence of Fujii, Tamura, and four extraordinarily receptive countervoices. Trouble Kaze is a kind of miracle of listening and acting, both by the performers and by you, the listener.
High improvisational inspiration, this is. Be sure and hear it repeatedly if you can. Kaze and now Trouble Kaze are a seminal group in the new improvisational fold today!
Wednesday, March 29, 2017
The very creative and capable quartet holds forth on this freely improvised set of six segments in ways which translate freely that visual activity into pure sound.
This is a potent get-together of Onno Govaert on drums, Marcelo dos Reis on acoustic guitar, Luis Vicente on trumpet, and Kristjan Martinsson on piano. They work together to realize varying degrees of transparency and denseness, sound and silence.
Readers of this blog will no doubt recognize several of the names and may indeed be familiar with their improvising. This particular foursome is new to me as a unit, and so perhaps also to many of my readers. They are united in their directional zeal, each a layer in the whole and each segment also a layer.
What impresses on this set is the care with which each member contributes his/her part: the trumpet riding generally above in space, the guitar and piano in a sort of centering mode, the drums contributing texture and periodicity with a pronounced flourish much of the time.
Surely, this is collective improvisation of a rarified sort, something FMR has been presenting to us so consistently, here yet further removed from anything expected but nonetheless directly communicating a sort of synesthesiatic analog of Ripkin's painting, spread out in time as much as space.
It is music made to contemplate, to run one's mental fingers over its aural surface, to experience a musically deep listen inside of. This is music an improv connoisseur will be instinctively drawn towards for its unrelenting eloquence. Those new or fairly new to ultra-modern improvisational music will doubtless find that patience and persistence will open up this music for you.
Explore this, by all means.
Monday, March 27, 2017
The regular trio appears here, now burnished down to a very fine three-way sonance. Marc Muellbauer has a beautiful tone on contrabass and a very eloquent approach to match. Heinrich Kobberling drums with drive and subtlety, in ways the trio profits greatly from but in the end requires for a full flowering.
The music played on this set includes many moving Hulsmann originals which have gotten the seasoning of being played for some time in the trio's live performances. One welcomes "Thatpujai," a tribute to the late pianist Jutta Hipp, who left our planet in 2003. The thematic materials are nicely culled from some of Jutta's recorded solos. But there is much to appreciate here with all five Hulsmann pieces. Then there are two tunes apiece by Muellbauer and Kobberling, interesting and worthy, plus an adaptation of a Kyrgyztanian violin piece played by a 12-year-old musican the band heard when on tour, and finally a Radiohead cover, unexpected but fully consistent with what the trio is doing today and their way of working inside harmonic-melodic material transformatively.
In the end this is a delicately ravishing album that marks the excellence of the pianist and her trio.
This is exultant listening, ecstatic music of calm and fire from some of Europe's most talented musicians and a pianist of world-class brilliance. Hear this!
Friday, March 24, 2017
He returns with a near-perfect expression in the duo zone, just Rich, his tenor (and a little wooden flute) accompanied by his son Carson on drums. Carson keeps sounding better and better. He is an ideal partner and co-equal on this set.
The Wild (Pine Eagle 810) has a series of ten improvisations, some with added compositional elements, others untrammeled forays into ecstatically charged open space. An obvious genetic relationship with John Coltrane and Rashid Ali's duo recordings of the last phase of Trane's career exists here. But that is probably a given on ANY sax-drum outing in the free zone these days. It is a touchpoint, a springboard from which arises tabula rasa expression. Similarly you might hear a bit of the influence of Ornette Coleman's harmolodic openness. But that also might be appropriately seen as the bedrock from which the art form has developed since Ornette's celebrated first recordings and onwards.
Fact is, though, that Rich is his own person on tenor and continues to grow and excel on his own terms. He has by now created a complex personal voice and a rich personal vocabulary that you can hear at peak levels on The Wild.
From the brash and energetically lucid to the free equivalent of balladic pastoral emanations, all form an important part of this set. It is tour de force saxophony. And Carson is much more than a mere foil to Rich's exhilarating effusions. His drumming drives the music with power and poise.
Like the sound of the ocean, there is near infinite variability and mood. Rich has attained a pure improvisational level that only the most accomplished in the art ever get to. He makes use of the full pallet of notes and tone colors available to him and does so with the innate wisdom of somebody who phrases in the best and most varied ways, the sound of a master.
And that makes him one of the West Coast's greatest living jazzmen, to my mind.
I recommend this one highly. You will have much to appreciate here, so go ahead and order it! It's at the apex of new jazz today.
Thursday, March 23, 2017
Sometimes these folks remind me a little of the classic Jarrett group that included Dewey, Haden and Motian--for the sort of kinetically open and unpredictable approach they espouse.
And the more you hear this, the more it jumps out at you. Recommended!
Monday, March 20, 2017
Today is no exception--here the composer-percussionist presents to us the fascinating work Autonomic (Prefecture 015). As we have come to expect, Paul shows us a heightened sensitivity to aural timbre and a pronounced ambiance that conveys a spiritual cosmos and a strong sense of direction. We hear the composition/suite "Autonomic" in this light, surely.
The work is comprised of four movements that feature three winds, cello, contrabass and percussion (the latter played by Kikuchi).
There is a composed-performative immediacy to the work, apparently based on specific motivic-interval cells that structure each movement, which in turn portrays an inner experience of each successive event-aspect of a deep breathing moment.
The total effect of the music is a pronounced timbral mysticism, an encompassment of movement and stasis in the bodily cycle of respiration, a musical analogue of an inner state, suggesting in aural terms its inner workings.
It is very meditative, very beautiful, very strongly evocative music that expands Kikuchi's universe of possibilities and at the same time is a fully immersive, stunning work.
Friday, March 17, 2017
Complete freedom and vivid aural imagination are the rules of the day on this set of ten segments. Whit made his name as the creative drummer with David W. Ware's ensemble and then Matt Shipp's trio, as well as lively dates as a leader. He is back and sounds as good as ever here. Kirk Knuffke has come to the forefront of the avant jazz world, especially in the last decade, making beautiful music with bassist-bandleader Michael Bisio among many others.
I've said this before on these pages but it bears repeating: Kirk manages to channel the history of jazz in his playing through a very classic tone, the poise of immaculately idiomatic phrasing and a creative ability that means he can be counted upon to come up with ever fresh, good ideas. That's very true on Fierce Silence.
Whit is a drummer and musical dynamo that takes the early freedom of Milford Graves and Sunny Murray and applies his own personal way to it all, building out of New York free school drum ideas and going beyond.
This album marks a very fruitful frisson of two well seasoned avant vets. There is not a note wasted. Every one counts. And the sum total of every note is some free music of the highest caliber.
Friday, March 10, 2017
Kimbrough is a studied and brilliant exponent of the jazz piano school that loosely groups around Bill Evans, Paul Bley and Keith Jarrett. He for a long time has taken control of his artistic destiny to be solidly on original turf and indeed, this trio finds him take on each tune with a brilliantly introspective presence.
Bassist Jay Anderson and drummer Jeff Hirschfield are open and inventive counterparts to Frank's improvisational extensions. They do all the right things to bring out the implications of the leader and what he is doing, adding their completely apposite selves.
This is a landmark in Frank's recorded output to date. It is ravishing All modern piano trio fans will find this one hard to resist, I'll warrant!
Thursday, March 9, 2017
They are game players and the originals by Chico, Tiago, Edu. Bruno, and Felipe have a well constructed presence that sets the band apart as a formidable vehicle for modern contemporary jazz.
Chico, Felipe and Tiago give us a front line that contributes very good solos. The rhythm section cooks with excellent Latin and straight-ahead grooves.
This is seriously good modern jazz!
Wednesday, March 8, 2017
It is a program of known and slightly lesser-known compositions by Charles Mingus and Gerry Mulligen, both of course known for their brilliance in scoring their own work for various sized ensembles and so a challenge to someone who seeks to do contrasting arrangements. That Mark Masters succeeds admirably is a testament to his considerable talent.
The band is a very capable 7-tet. Gary Foster is a most welcome presence on alto, especially since he does not appear on as many sessions these days as one would like. But then we get some beautiful players in Jerry Pinter on tenor and soprano and either Gene Cipriano on tenor and Adam Schroeder on baritone or Ron Stout on trumpet and Les Benedict on trombone--the aforementioned alternate presences is divided more or less evenly on the program. Then there is Ed Czach on piano, Putter Smith on a very out-front bass, and Kendall Kay on drums.
There is a tight clean sound that seems a present-day rethinking of "Birth of the Cool" or perhaps a little of the "Four Brothers" sound. And that totally fits in with the outlook of these compositional gems.
We get Mingus's "Monk. Bunk and Vice Versa," "So Long Eric," "Peggy's Blue Skylight," "Duke Ellington's Sound of Love," and "Eclipse," all well worth a fresh set of arrangements, to say the least.
Mulligen comes to the fore with new arrangements of "Out Back of the Barn," "Wallflower," "Strayhorn 2," "Apple Core," "Birds of a Feather," and "Motel."
The combination of arrangements and solos is well balanced. The compositions sing to us again with Mark Masters' singular ways.
This is music that makes ME happy. I do strongly suggest you hear this one. You'll be happy with it too, I would bet.
Monday, March 6, 2017
Pascal Niggenkemper joins Godet on doublebass and objects; the trio is made complete with the presence of Sylvain Darrifourcq on drums, percussion and zither.
There is movement and development going on throughout, beginning with "No Border," with concrete and enhanced sounds that begin sparsely and ambiantly, then traverse gradually into expressively free territory with some wailing clarinet, arco bass and a wash of tone-noise of unspecified provenence. Sylvain enters with a series of irregular tatoos and we are off to parts unknown. The segment continues on with the periodistic insistence and regular-irregularity of free jazz, then segues into "No Logo" with a three-way contrapuntal dialog of clarinet, bass and drums which has even more jazz-speech inflections than what we have heard in the opening.
"No God" opens up the space further with some ruminating drum statements and ambient noises--jagged stutters that open another sound world that tumbles forward into our listening minds. Godet's incantatory clarinet emerges with some performative testifying while Niggenkemper's prepared bowing and Sylvain's drumming fall into the expressive zone once again. It continues in free roll while the bass punctuates more emphatically with pizzicato pluck-shouting. Clarinet and drums respond with their own soul calls, earthy epithets and emotive figurations. Things eventually grow quiet and end in some bluesy phrasings.
"No Fear" begins in silence, then creates a ritualized series of overlapping sequences on an altered zither, bass clarnet long tones, and arpeggiating pizzo-harmonics. It channels yet another intriguing aural space into our listening selves.
And so it goes, a fascinating set on an inspired night. This is music you need to allow into your head. It needs you to actively collaborate with it in order to make its expression clear. But then it rewards with something worthwhile, border-crossings that we do not want to prevent by building a wall. No wall!!
Friday, March 3, 2017
What may come into your life as an obscurity sometimes establishes itself as a familiar in short order. That's true of Patrick Shiroishi's Black Sun Sutra and their EP album Anfinsen's Landmark (Creative Sources CS 363).
What I especially like about this free-avant quintet is how they set up a compositional matrix around which their free jazz spins. Patrick Shiroishi and Robert Magill form a two-horn reed section on baritone-alto and tenor. respectively. They establish a mood with a sort of repeating dirge at the beginning of the album that then explodes into frenetic freedom. Noah Guevara's guitar ripens the group sound with post-Sharrockian shreds and jabs. The rhythm team of Ken Moore on double bass and Sergio Sanchez on drums catapult the band outwards, but also give a jazz-rock-free underpinning to "Athialowi."
There is rawness and power to this band, along with an effective collective frontline in the two-horn-and-guitar open-endedness. It is the opposite of slick and as such reminds me of earlier free dates that did not establish themselves as product. The same surely is true of this set (and of course there are others out there today who bypass the merely sale-able and go for some kind of essence).
But this quintet has a disarming unpretentiousness about it that speaks to me directly. It could have been a BYG record, but of course it is not and most naturally has a present-ness that goes beyond.
The drummer has a few moments to bash wildly and well. Again, you do not hear that so often these days.
The program ends with an interesting unaccompanied alto sojourn from Shiroishi. More?
This may not always show an extraordinary technical prowess-polish as a whole so much as a good feel and a "to hell with it we're going to pound and cajole ourselves to outer space" freshness.
What will they do for an encore? We'll see, but in the meantime I am caught off-guard and find myself liking it almost in spite of myself. Honest and out.
Thursday, March 2, 2017
I like what he's done for a full band with horns and rhythm. And with a smaller band as well.
And he can sing!
This is what a debut album should be. It introduces to us Sidney's wide world of jazz and soul infused hipness.
Check this one out!
Thursday, February 23, 2017
If we divide the avant jazz piano universe roughly into the Paul Bley harmonic extensions of advanced soloing and the Cecil Taylor percussive-textural abstract approach, Satoko perhaps fits more into the Bley side than the Taylor one. Such is an oversimplification however, since Satoko spans both worlds and gives her pianistic view a spin that moves away in the end from either. She has a lyrical composer's piano side, an exploratory chromatic-diatonic mix all her own, and an important extended technique side, applying inside-the-piano hands when she feels the need.
Hearing two complete CDs of Ms. Fujii alone with the piano gives us an inner look at her fertile musical mind, her complete avoidance of cliche and well-worn phrases in the vernacular while evoking jazz strengths in the feel and manner of expression.
Invisible Hand broadens our appreciation of Ms. Fujii's original stance. Her solo piano musings expose a more intimate side of her mastery. It is a pleasure to hear and a must-listen to all who want to get a full view of the art of the solo piano in jazz today. It's a revelatory volume and beautiful to experience!
Certainly listening to the new album by the CP (Chris Pitsiokos) Unit, Before the Heat Death (Clean Feed 408) has been such a growth experience for me. The appearance of Weasel Walter on drums is no mere serendipity, as his presence in ensembles with Ken Vandermark and others as the Flying Luttenbachers in the '90s and beyond established a punkish electric avant jazz attitude that most surely influences the music to be heard here.
Alto saxophonist Chris Pitsiokos heads up the ensemble with his scorching heat and uncompromising frenetics. Brandon Seabrook, who first came to my attention and made the scene as a banjo player of great fire and technical chops, shows us that his guitar work here is no less important. Tim Dahl gives us on electric bass a rock steady presence that can let loose with torrents of notes along with the others or alternately providing bass bedrock to hold it all together. And Weasel is as always a great catalyst and creative force who goes far beyond playing time into participating with the ensemble in making rhythmic-melodic confluences and contrasts as much drum-oriented as bass-, sax- or guitar-centered.
The seven track EP gives us plenty of composed and improvised electric-organic anarchy that flirts with the most avant of rock ensembles while keeping in the end to the avant jazz path. The categories in the end are but rough indicators of what you might expect to hear. There are composed riffs and frenetic ensemble passages and there are solos of definite note.
What impresses especially is the rigor of concept and its all-fired application.
A bit of a monumental blow-out, this.