Dan Loomis - Revolutions

August 5, 2024

Label: Adhyâropa Records, 2024

Personnel - Dan Loomis: bass, words; Sebastian Noelle: guitar; Owen Broder: clarinet; Rodrigo Recabarren: drums; Ches Smith: tanbou (#1,3,5,7,9,11, 13,15,17,19) Jeff Miles: guitar (#1,3,5,7,9,11,13,15,17,19); Taïna Cerat Ligonde: spoken word.

New York-based bassist and composer Dan Loomis generates high expectations with his new conceptual album, Revolutions. This narrative suite is dedicated to the heroes and ideals of both the Haitian and South America revolutions. Loomis wrote the words that introduce the historic figures - tracks featuring percussionist Ches Smith, guitarist Jeff Miles, and Haitian spoken word artist Taïna Cerat Ligonde - and composed all the music on the album, except for the last track, “Hay Una Mujer”, a protest song by singer-songwriter and activist Holly Near. The core quartet playing the longer instrumental tracks include German guitarist Sebastian Noelle, American clarinetist Owen Broder, and Chilean drummer Rodrigo Recabarren.

Dedicated to Venezuelan politician and activist Franisco Miranda, “Skies” is also influenced by Ornette Coleman’s orchestral opus Skies of America (Columbia, 1972). It starts as a sheer reflection, touched by the woody tone of the bass with clarinet atop and a subtle cymbal pulse at the bottom. A few minutes later, Noelle’s guitar thickens the texture by following the melody with tidal chordal waves, and a clear bass dissertation precedes the reprise of the theme.

The leader of the Haitian Revolution, Toussaint Louverture, is homaged with two pieces: “Toussaint” begins in chamber classical quietude, with bowed bass providing emotional depth, then shifts to a vigorous backbeat and magnetic harmonic drive for the clarinet and guitar solos. In turn, “Trunk of Liberty” offers a free-flowing introductory section before transitioning to a smooth Latin breeze, with Noelle and Broden focused on fusion-like unisons atop Reabarren’s effervescent snare eruptions.

Highlights include “The Road”, written for the Venezuelan liberator of America Simon Bolivar, which marches at a slow 7/4 tempo, loosely based on the Argentine milonga style; and “Dessalines”, where Loomis breaks loose with an unreserved intro and Noelle delivers a well-calibrated solo with bold intervallic choices before texturizing the scene with a 12-beat cycle figure. In a different context, “Centaur of the Plains” traverses colorful Brazilian landscapes with vividness, paying homage to the first president of Venezuela, General José Antonio Páez.

By pairing down every element in Revolutions with assertive instinct, Loomis proves to be a no-nonsense storyteller, arranger, and conceptualist.

Favorite Tracks:
04 - Skies ► 10 - The Road ► 16 - Dessalines

Lars Fiil & Bilal Irshed - Connections

January 8, 2024

Label: Self released, 2023

Personnel - Lars Fiil: piano; Bilal Irshed: oud; Soma Allpass: cello (#2,x,6,7).

Danish pianist Lars Fiil and Danish-Palestininan oud player Bilal Irshed join forces in Connections, bridging Nordic jazz and the folk sounds of the Middle East. Their irresistible embrace of diversity and warmth of sound is enriched by the sterling contribution of classically trained cellist Soma Allpass on four of the eight original compositions.

The opening track, “On the Way Home”, is expertly played and introduces the listener to the beautiful quarter tones of the oud, subsequently setting the gentle rhythm that underpins a passionate unison melody. Fiil’s smooth chords and textured accompaniment blend seamlessly with the oud’s pungent tone creating poignant and lyrical moments of sheer beauty. The following piece, “Pictures”, is a breezy lullaby with a touch of melancholy from the East. Allpass is featured here, adding pizzicato and bowed cello, and responding to the smart figure suggested by her colleagues. The threesome concludes in clear agreement.

Assi Rahbani’s “Kadeish Kan Fe Nas” is a Lebanese song with an easy, perceptive melody and classical intonation, while Fiil’s “Reflections” incorporate more Western influence, being a contemplative meditation cooked up in trio format. Ultimately, it makes us raise our hands to the skies in appreciation of life.

In the telepathic rapport of “Song” the trio takes the listener into Rabih Abhou Khalil's hybrid universe, becoming a prime example of how in sync these three musicians can play together. The journey concludes with the title track, “Connections”, which, sculpted with roundness and an in-the-pocket flow, evokes optimistic and thankful feelings through a circular harmonic dance that invites spontaneous phrasing.

The elegance, positive emotions, and graceful delicacy of the music are enough to make you respect what this duo does. The album’s peaceful atmosphere and harmonious sonic resolutions offer an encouraging start to 2024.

Favorite Tracks:
01 - On the Way Home ► 05 - Reflections ► 08 - Connections

João Frade & Bruno Santos - Rascunhos

December 27, 2023

Label: Kimahera, 2023

Personnel - Bruno Santos: guitars, braguinha, rajão, electric bass, percussion; João Frade: accordion, samples.

Bruno Santos, a versatile Lisbon-based guitarist, has dedicated himself to diverse multi-genre projects, including his recent release, a guitar-hammond-drums trio album titled Wild West. That album showcases his commitment to evoking the hard bop and soul jazz sounds of iconic figures such as Wes Montgomery, Jimmy Smith, and Lou Donaldson, creating a classy atmosphere all its own. João Frade, another talented Portuguese artist, is an accomplished accordionist known for his eclecticism in jazz, fado, and Brazilian music. Their duo effort, Rascunhos, is the result of a remote collaboration, featuring 11 pieces – five compositions by each artist and one collectively composed - where they sink their teeth and hearts into world music territory with plenty of rhythm.

In Frade’s well-calibrated “Lyssa”, they intercalate uptempo waltzing passages with moments of calm detachment. The exoticism continues in Santos’ “Cabo Verde”, responding to the previous cut with a contagious African-tinged pulse. Here, the braguinha and rajão (stringed instruments from Madeira Island) and accordion harmonize perfectly before Frade’s warm improvisation.

“Chorinho Tila” and “Dázz to Dézz” showcase impetuous Brazilian rhythmic drives and beautiful melodies, while “Delirious Tremens”, a collectively composed effort with a more experimental nature, immerses the listener in hazy, tremolo-soaked acoustics.

Fusion elements are present in “Plastik Man”, an old yet unrecorded piece by Santos that seamlessly blends eclectic sounds to reach a cross between Toots Thielemans, Milton Nascimento, and Ralph Towner. On the other hand, Frade’s “Chacrach!” brings shades of Larry Coryell’s flamenco jazz, Chick Corea’s gipsy-tinged fusion, and Rabih Abou Khalil’s Eastern flavors to the table. The album concludes with Santos’ “A Cadeira, o Baloiço e as Rosas”, a smooth waltz previously featured on Mano a Mano Vol. 2.

Musically sensitive and not self-centered, Santos and Frade deliver Rascunhos as a breezy, sunny record where lovely dialogue unfolds. The music will please crossover jazz and world music enthusiasts alike.

Favorite Tracks:
01 - Lyssa ► 05 - Plastik Man ► 10 - Chacrach!

Wolfgang Haffner - Silent World

January 31, 2023

Label: ACT Records, 2023

Personnel - Wolfgang Haffner: drums; Simon Oslender: piano, keyboards; Mitchel Forman: synth; Nicolas Fiszman (#5,10): bass; Thomas Stieger (#1-4, 6-9, 11): bass; Eythor Gunnarsson: synth, Rhodes; Sebastian Studnitzky: trumpet; Mark Wyand: tenor sax, flute, clarinet; Norbert Nagel: tenor sax, flute, clarinet; Bruno Müller (#1, 10): guitar; Dominic Miller (#5): guitar; Bill Evans: soprano saxophone (#1); Nils Landgren: trombone (#8); Till Brönner (#4): flugelhorn; Alma Naidu: vocals (#1-3 ,8); Rhani Krija (#4, 5): percussion.

German drummer Wolfgang Haffner is a musical pacifist who likes to paint beautiful landscapes in his music. Only one year has elapsed since the release of his last album on the ACT imprint, Dream Band Live in Concert. Apart from vibraphonist Christopher Dell and trumpeter Randy Brecker, all the musicians featured on the latter album play on Silent World: American saxophonist Bill Evans, Swedish trombonist Nils Landgren, keyboardist Simon Oeslender, and bassist Thomas Stieger. Many other guests enrich a body of work where Haffner stands poised to attract more followers.

Taking his own web of musical meaning, the drummer opens with “Here and Now”, establishing an alluring sweep that is simultaneously smoothing and propelling. The piece, which is invigorated by Evans’ soprano saxophone, takes the shape of a whirling ballad when the keyboards become noticeable. The following track, “Silent World”, unfolds softly and gently with a ternary pulse that is more akin to the pop/rock universe. Vocalist Alma Naidu and synth player Mitchel Forman are featured.

No other tune reflects and fuses so many inspirations than “La Casa”, whose attributes are closely identified with artists such as Tomas Stanko, Manu Katché and Mathias Eick. It all begins with a bass pedal and the trumpet amenities of Sebastian Studnitzky. World music influences are detected in the rhythmic flow and melody, but the group moves from a sweet, even sound to something that seems stirred up by electronic music.

With Sting’s guitarist Dominic Miller on board, “Faro” is a serene fusion piece with effective modulation and ample space to breathe. On “The Piece Inside” it’s the super melodicism practiced by the resolute flugelhorn player Till Brönner that stands out, whereas pieces like “Hope” and “Belief” are ambient rides where chill-out jazz adherents will find repose.

Despite the gentle synth washes and meek octave-modulated trumpet, “Life Magic” tries to resist the predominant ambiance with stereo percussive sweeps and a dancing rhythm that borrows from funk and Brazilian music. Haffner gathers well-honed material with a genre-crossing vision, letting things flow naturally rather than force any note or rhythm.

Favorite Tracks:
01 - Here and Now ► 03 - La Casa ► 04 - The Peace Inside

Azar Lawrence - New Sky

January 31, 2022

Label: Trazar Records, 2022

Personnel - Azar Lawrence: tenor and soprano saxophone; Lynne Fiddmont: vocals; Calesha “Bre-Z” Murray: vocals; Oren Waters; vocals; John Beasley: keyboards; Nduduzo Makhathini: keyboards; James Saez: guitar; Greg Poree: guitar; Gregory “G-Moe” Moore: guitar; Destiny Muhammad: harp; Sekou Bunch: bass; Tony Austin: drums; Munyungo Jackson: percussion.

The veteran saxophonist Azar Lawrence, whose musical credits include Miles Davis, McCoy Tyner, Marvin Gaye, Woody Shaw and The Earth, Wind & Fire, delves into a variety of material as he channels optimistic vibes into our troubled pandemic times. A deep connoisseur of tradition, Lawrence leads a combo of versatile players who provide him with excellent jazz, R&B and Brazilian-tinged backgrounds.

“All in Love” opens the way with warm colors and a properly defined structure that condensates portions of funk, reggae, post-bop, and a mix of Afro and Middle Eastern feels. Following the sagacious tenor statement, there’s an eruptive rock-inclined guitar solo that brings an extra flavor to the mixture.

Steeped in Brazilian funk, “New Sky” conjures up the energizing spiritual vibes of Kamasi Washington, presenting clever modulations while being brilliantly sung by Lynne Fiddmont. The spirit rejoices with hope, not only here but also on the Coltrane-influenced modal pieces “Birds Are Singing” and “Revelations”. Both are passionately carried out with elliptical soprano flights, but while the former is a newly composed waltz, the latter - thriving with Destiny Muhammad’s refreshing harp plucks, Nduduzo Makhathini’s poised piano playing, and Tony Austin’s syncopated cymbal crashes - is taken from the bandleader’s 2009 album Speak the World.

A different kind of emotion lies at the core of pieces such as “Ain’t No Doubt About It”, a R&B effort with inflectional hip-hop vocals by Bre-Z and expeditious tenor phrasing; “Just Because of You”, a classic soul jazz breeze that will make the fans of George Benson and The Earth,Wind & Fire equally happy; “I Really Love You”, in which a gospel melodic thread is appended to the crossover jazz; and the 1975-penned “From The Point of Love”, whose samba flavor is unequivocal. There’s also “Peace and Harmony”, which, featuring a resonant electric bass solo by Sekou Bunch, mixes Latin, R&B and post-bop essences.

The exciting thing about this album is how effortlessly Lawrence adapts to different styles with the same grandiose positivism. New Sky showcases the leader’s eclectic writing and provides a smooth, pleasant listening that comes right on time to appease minds and spirits.

Favorite Tracks:
01 - All in Love ► 03 - New Sky ► 07 - Birds Are Singing

R + R = Now - Live

February 23, 2021

Label: Blue Note Records, 2021

Personnel - Robert Glasper: keys; Terrace Martin: synthesizer, saxophone, vocals; Christian Scott aTunde Adjuah: trumpet; Taylor McFerrin: synthesizer; Derrick Hodge: bass; Justin Tysonn: drums; Omari Hardwick: spoken word.

This live recording from the eclectic, socially conscious collective R+R=NOW led by keyboardist Robert Glasper consists of five previously recorded songs, one unreleased original, and one cover. Captured in 2018 during a month-long residency at the Blue Note Jazz Club in New York, the music is extended in time but adds little to the band’s debut, Collagically Speaking.

Sporting a groove-laden spirit and electric relaxation, the band opens with “Respond”, where the effect-infused trumpet of Christian Scott soars to top of the harmonic definition of Derrick Hodges’ streamlined bass and Justin Tyson’s focused snare and drum kick activity. The relaxing stratus is gradually densified via textural layers and growing energy. This is followed by “Been on my Mind”, a pneumatic, soul-infused song featuring robotic-like vocals by Terrace Martin and a slow boom-bap beat.

Besides the aforementioned pieces, three others had been included in the debut album. They are “Change of Tone”, a crafty blend of R&B, hip-hop and jazz-funk whose passages flow with soulful chords, brittle synth beams and an extended, if rhythmically interesting, piano solo from Glasper; “Needed You Still”, which features the spoken word of Omari Hardwick while delightfully propelled by Hodges’ fat bass notes and Tyson’s stunning drum work; and the pungent fusion of “Resting Warrior”, an over-25-minute stretch stirred up with Afro-inspired vibrations and consecutive solos, beginning with Terrace on the alto saxophone.

There's a natural elasticity in Tyson’s rhythmic pulsations that also applies to the new compositions. “How Much a Dollar Cost” is an R&B enterprise from the pens of Kendrick Lamar and Martin, where trumpet and synthesizers dance unabashedly, whereas “Perspective / Postpartum” splices compositions from Scott and synth player Taylor McFerrin. This audio track is largely stuffed with dispensable interaction with the audience, relying on circular progressions with triple and double time feels to engage us in.

Although unessential and somewhat unconnected, fans of the band have here another musical object to explore.