Label: Intakt Records, 2021

Personnel - Ohad Talmor: tenor saxophone; Miles Okazaki: guitar; Dan Weiss: drums.

There are many facets to saxophonist Ohad Talmor’s oeuvre. His interest in and devotion to currents like Hindustani and contemporary classical music make him speak with idioms that captivate and intrigue, demonstrating his virtuosic compositional abilities within structurally compelling music.

Mise En Place explores new directions in jazz by making use of the cited influences with cleverness, and finds him fronting a trio with two other cats - guitarist Miles Okazaki and drummer Dan Weiss - both members of another project he leads, the Newsreel Sextet.

The influence of Indian classical music and its rhythmic cycles appear in full bloom not only on “Kamali” - whose intriguing form develops with intersections of Eastern vernacular, contemporary jazz and rock overtones for a first-class piece of fusion - but also on “Shymal Bose Chakradar”, in which accessible melodic parts are quickly reformulated into new patterns and grooves (the rhythm section is simply brilliant here), and also “Rupak Tukra”, a complex concoction of Monk accents and Indian flavors that never loses direction.

Also intermixing the Western and Eastern musical worlds with incessant rhythmic upheaval, “Mixo Mode 19” sometimes resembles Henry Threadgill as it straddles between rigorous composition and searing improvisation. This piece contradicts sharply the rocking spirit of “Back of the Plane”, presented with groove and power and chromatic modulation, and sounding like a postmodern version of Rage Against the Machine.

The fancifully accented “Theme and Variations” has a funky rhythm undergirding the parallel lines agreed by Okazaki and Talmor in a more familiar avant-garde setting. Subsequently, we have the former delving into post-rock guitar textures, while the latter blows the tenor with a throaty quality and multiphonic conviction.

The inclusion of two beautiful pieces by John Coltrane confirms the respect nurtured for this quintessential saxophonist. Breaking the intricate rhythmic currents of the preceding five tracks, “Wise One” finds space to breathe, taking us from a context with highly melodic saxophone, scintillating (guitar/chords/texture) and cymbal washes to a rich Brazilian meditation. And “After the Rain” concludes the record with that irresistible peace of mind that all Coltrane lovers search from time to time.

This is a work of pure dedication and focus, impressive in its sheer physicality and complexion. This trio, a new favorite and one of the strongest of 2021, should not be overlooked, demonstrating to have a rapport as tremendous as its musicianship.

Favorite Tracks:
01 - Kamali ► 05 - Theme and Variations ► 06 - Wise One

Label: Intakt Records, 2020

Personnel - Ohad Talmor: tenor saxophone; Shane Endsley: trumpet; Miles Okazaki: guitar; Jacob Sacks: piano; Matt Pavolka: acoustic bass; Dan Weiss: drums.

Brooklyn-based saxophonist Ohad Talmor is a leading voice among the most ambitious composers/arrangers working in New York. For this new album - a collection of long form tunes based on single ideas that keep evolving en route - he reconvened the reputable Newsreel group, nine years after its debut. The current formation features the same trustworthy long-time collaborators that joined him in 2011 - Jacob Sacks on piano, Shane Endsley on trumpet, Matt Pavolka on bass and Dan Weiss on drums - plus the forward-thinking guitarist Miles Okazaki, who whets the listeners' appetite with extra sonic spice.

Talmor’s compositional vein translates into a fresh contemporary style that is pretty much evident on the opening tune, “Layas Lines”. This energy-infused piece grew out of the third movement of Layas, a piano-drums concerto written for Jason Moran and Dan Weiss. The layout includes both unisons and constellating polyphony, impressive synchronous movements and an off-center inclination that bewilders and paralyzes such is its cohesion. Talmor unleashes lines with high fluidity, enjoying both lush piano chords in support of his cause and single-note guitar phrasing delivered in parallel. Endsley also takes his game beyond expectation, and then it’s Okazaki who shapes the vamp over which Weiss demonstrates his unlimited creativity.

The invigorating “Kayeda” is based on the Hindustani heritage and finds Talmor’s eclectic ideas booming with a postmodern aesthetic. By combining sturdy chordal practices and melodic agility, Sacks deconstructs in waves, while Endsley operates under the fabulous rhythm designed by Pavolka and Weiss. The bandleader closes out the improv section with uncluttered authority and a commanding presence that perfectly consolidates pitch control, articulation and dynamics.

The waltzing ballad “Casado” is further enriched with the incandescence of Sacks’ intro and denotes influences of both Lee Konitz (Talmor’s mentor), Bill Evans, and classical music. In turn, the three-part “Scent” goes in a distinct direction. Hints of vulnerability are detected in the graceful arches and corridors of the first and third parts, while the second, preceded by the liquidity of a dreamy piano interlude, takes the form of a propulsive rock machine.

The mighty presence of Weiss behind the drum kit is not only difficult to understate on the latter track but also on the closer, “Musique Anodine”, where he infuses ingenious syncopation, especially during Okazaki’s crescent solo. Simultaneously glamorous and delicate in texture, this particular number features improvisations from all members of the group while advancing gradually and methodically toward a crescendo.

The musicians' powerful chemistry spreads out, translating into a superb sound and facility of communication.

Favorite Tracks:
01 - Layas Lines ► 03 - Kayeda ► 06 - Musique Anodine