Frank Carlberg Large Ensemble - Elegy for Thelonious

March 5, 2024

Label: Sunnyside Records, 2024

Personnel - Frank Carlberg: conduction, composition; David Adewumi: trumpet; Sam Hoyt: trumpet; John Carlson: trumpet; Kirk Knuffke: cornet; Brian Drye: trombone; Chris Washburne: trombone; Tyler Bonilla: trombone; Max Seigel: bass trombone; Nathan Reising: alto sax; Jeremy Udden: alto sax, lyricon; Adam Kolker: tenor sax, flute; Hery Paz: tenor sax, clarinet; Andrew Hadro: baritone sax, bass clarinet, flute; Leo Genovese: piano, keyboards; Kim Cass: bass; Micheal Sarin: drums; Christine Correa: voice (#1,3,4); Priya Carlberg: voice (#2,3,4).

Striking a lush, harmonious balance between each tune, Frank Carlberg's new orchestral venture pays homage to Monk's legacy while showcasing his own creative stamp. The album features seven original compositions, skillfully layered by a talented group of musicians and improvisers.

“Spooky Rift We Pat” opens the album with mystery and a dark smudgy tone, featuring vocalist Christine Correa. Subsequently, it transitions into a dynamic get-up-and-go that combines the standard “Tea For Two” and Monk’s “Skippy”, juxtaposed in its sung and instrumental forms, respectively. With the horn players delivering luxuriantly composed lines, the central stage is reserved for soloists, namely tenor saxophonist Adam Kolker and trumpeter David Adewumi.

Operating within a riff-heavy frame, “Out of Steam” is based on “Locomotion”, and despite its title, never slows down in its intervallic defiance and intensive layered exploration, featuring Frank's daughter, Priya Carlberg, on vocals. Less exuberant, “Elegy For Thelonious” is a beautiful composition where Correa recites a poem by Yusef Komunyakaa and infuses "Abide with Me" with a rock posture. Trombonist Bryan Drye, cornetist Kirk Knuffke, and Lyricon player Jeremy Udden deliver captivating solos on this track.

Favoring an aesthetic informed by experimental streaks, the invertebrate “Scallop’s Scallop” is an avant-jazz foray that serves Knuffke’s improvisational facility and ingenuity. In a similar fashion, the contrapuntal “Wrinkle on Trinkle” features a catchy alto solo by Udden, bending and twisting to the point of abstraction while a dissimulated funky rhythm defines the groundwork. The album closes with “Brake Tune” (an allusion to “Break’s Sake”) is introduced by Hery Paz's severe tenor discourse, but ends up in a playful mode, enclosing deft rhythm manipulation, a noticeable synth venture by Leo Genovese, and unabashed counterpoint.

Overall, the album highlights Carlberg’s orchestration capabilities and the quality of his compositions. The positive result is a consequence of the masterful execution by the talented players on this recording.

Favorite Tracks:
04 - Elegy For Thelonious ► 05 - Scallop’s Scallop ► 06 - Wrinkle on Trinkle

Fire! Orchestra - Echoes

July 10, 2023

Label: Rune Grammofon, 2023

Personnel includes - Mats Gustafsson: baritone saxophone, flute; Mette Rasmussen: alto sax, flute; Fredrik Ljungkvist; tenor sax; Joe McPhee: tenor sax, vocals; Per ‘Texas' Johansson: oboe, bassoon, contrabass clarinet, bass clarinet, flute; Mats Äleklint: trombone; Susana Santos Silva: trumpet; Goran Kajfes: trumpet; Per Åke Holmlander: tuba; Sten Sandell: piano; Alex Zethson: piano; Reine Fiske: guitar; Johan Berthling: electric and acoustic bass; Andreas Werliin; drums; Thomas Öberg: vocals; Mariam Wallentin: vocals; David Sandström: vocals; Juan Romero: percussion, berimbau; and more.

Constantly evolving, the Fire! Orchestra welcomes you to the hippy cosmos of their progressive symphonic journeys with a new double-disc outing of enormous impact. The band creates staggering momentum with each recording and Echoes is no exception to the rule.

The opening piece, “Echoes: I See Your Eye, Part 1” boasts a laid-back groove with strings surrounding it. There’s a glorious cinematic feel that steps further when Mats Gustafsson - he founded the ensemble in 2012 with bassist Johan Berthling and drummer Andreas Werliin - unleashes a heartfelt saxophone statement loaded with warping laments and rumbling growls. The second part of this piece bookends the album with vocals by Joe McPhee. The American saxophonist brings his flaming horn to “Echoes: Last Eyes in the Dying Hand”, a 14-minute expedition that experiences electro-vibes prior to bursting into a violent detonation of sound. The vocals here are by David Sandstrom from the hardcore punk group Refused, and there’s a vibraphone-driven passage spruced up with polyphonic horn lines. It ends frenetically, with acrid explosiveness.

The haunting vocal work by Mariam Wallentin is featured on “Echoes: to Gather it All. Once”, an alternative pop/rock exercise that brings Nick Cave's Birthday Party to mind. Despite the bittersweetness, the piece is propelled gently with brushes while displaying a consistent riff sidelined by the voice. It also includes a fine trombone solo by Mats Aleklint.

The bracing jolt of “Echoes: a Last Farewell” is carved out with tuba, rattling percussion, and then a cyclical bass groove that evokes space-age freedom. Sun Ra and Art Ensemble of Chicago are references that we can also associate with “Echoes: Cala Boca Menino”. This soulful Brazilian tune with a smooth funky pulse was composed by Dorival Caymmi and arranged by João Donato, with lyrics by Swedish singer Thomas Öberg. The title translates into ‘shut your mouth, boy”.

The piece I just mentioned is not the only Brazilian-inspired flow. The strophic “Echoes: Forest Without Shadows” extracts shamanic energy from its 2/4 frevo drive with prominent percussion work at the base, tight strings, and bustling solos from trumpet and alto sax. There’s also this comfortable capoeira dance, “Nothing Astray. All Falling”, which features Juan Romero on berimbau. Just like this one, there are other shorter pieces that explore several soundscapes with Eastern tinges, sinister drones, chiming bells, tortuous and buzzing horn sounds, strident guitar, and other avant-garde forays.

Fire! Orchestra gets better and better with time; its music is never messy, even when they delve into infectiously unbridled, rapid-fire jaunts.

Favorite Tracks:
01 (CD1) - Echoes: I See Your Eye, Part 1 ► 05 (CD1) - Echoes: Last Eyes in the Dying Hand ► 01 (CD2) - Echoes: A Lost Farewell

Charles Pillow Large Ensemble - Electric Miles

September 10, 2018

Label: Mama Records, 2018

Personnel – Charles Pillow: alto and soprano sax, flutes; David Liebman: soprano sax; Colin Gordon: alto and soprano sax, flute; Luke Norris: tenor sax, clarinet; CJ Ziarniak: tenor sax; Karl Stabnau: bass clarinet; Michael Davis: trombone; Abe Nouri: trombone; Jack Courtright: trombone; Gabe Ramos: bass trombone; Tony Kadleck: trumpet; Charlie Carr: trumpet; Clay Jenkins: trumpet; Tim Hagans, trumpet; Julian Garvue: electric piano; Chuck Bergeron: electric bass; Mike Forfia: acoustic bass; Jared Schonig: drums.

Besides being a sought-after sideman in both pop and jazz genres, saxophonist Charles Pillow is also a qualified bandleader whose musical adroitness shines through on his latest work for large ensemble, aimed to celebrate the 50th anniversary of Bitches Brew and the strong heritage of the early electric period of Miles Davis’ music.

Conveniently entitled Electric Miles, the album features amazing soloists such as saxophonist Dave Liebman and trumpeters Tim Hagans and Clay Jenkins in a cross-pollination of jazz and rock with ample textural dimension. Aggregating 8 tightly structured compositions (four by Miles, three by Joe Zawinul, and one by Wayne Shorter), the program is competently handled by a 17-piece big-band comprising gifted multi-generational musicians with an unaffected ability to read and improvise.

Zawinul’s “Pharaoh’s Dance” opens with a deep-running tranquility, indicating that this music can be satisfyingly funkified with coolness and strongly boosted by legitimate solos. Pillow’s voice erupts with clarity after a short interlude that echoes trumpet riffs. Before him, it was Hagans who delivered a great solo with pure post-MIles intention.

Also penned by Zawinul and popularized by Miles, “In a Silent Way”, displays a blatant variation in the rhythmic intensity, having the inaugural docile atmosphere veering to an electrifying rock groove populated by Jared Schonig’s stupendous transition fills and Julian Garvue’s keyboard ecstasy. The drummer takes the liberty to embark on a short solo ride before concluding the piece with the rest of the band.

Rendered with grandiose counterpoint and delicious unison lines, “Bitches Brew” never boils over, except when Hagan's trumpet hits the stars. In turn, the solo-free “Sanctuary”, which honors Wayne Shorter, is filled with abundant serenity, in opposition to the relentless, outgoing moves of Miles’ “Spanish Key”, fueled with passionate improvisations from Jenkins and Pillow..

Coaxing wide dynamics with broader hooks “Black Satin” and “Yesternow” are set on fire due to Dave Liebman’s stunning flights on soprano. His discourses are designed with flashy outside efforts, lavish emotional crescendos, and brilliant resolve. While “Satin” thrives with the rhythmic magnetism of powerful bass lines and rocking drum fluxes, “Yesternow” is elegantly brought to life by a creamy alto flute.

Mr. Pillow shaped up Electric Miles with scrupulous arrangements containing fluttering horn lines and expressionistic individual solos. Everything flows with an electrifying poise.

Favorite Tracks:
01 - Pharaoh’s Dance ► 04 - In a Silent Way ► 07 - Yesternow