Gordon Grdina's The Marrow with Fathieh Honari

Label: Attaboygirl Records, 2024

Personnel - Gordon Grdina: oud; Hank Roberts: cello; Mark Helias: bass; Fathieh Honari: vocals; Hamin Honari: percussion.

Gordon Grdina is a versatile Canadian artist who moves effortlessly between a disparity of styles, including free-form improvisation, structured avant-garde jazz, and world music. While proficient on both guitar and oud, Grdina showcases his mastery of the latter instrument in his latest release, The Marrow, which is deeply rooted in Persian tradition. Leveraging Western improvisational expertise from seasoned veterans of the downtown New York scene like bassist Mark Helias and cellist Hank Roberts, alongside the modal Persian approach of percussionist Hamin Honari and vocalist Fathieh Honari, Grdina orchestrates a rich musical landscape.

The first track, “Not of Them”, is an immersive Grdina composition featuring sublime oud playing characterized by humming liquidity and shinning microtonal chromatics, and Fathieh's ethereal vocals reciting a poem by Rumi. “Break the Branch” follows a similar conceptual framework, but while the former presents a synergistic danceable form - with vibrant percussion, stable bass footing, and chanting cello lines in sync with the oud - the latter, set in motion by Helias’ extraordinary bass mobility, grows in intensity with Grdina and Fathieh taking a center stage.

“Raqib”, composed by Iranian composer Hossein Samadi, is deceptively simple in its rattling percussion, droning cello/bass rumination, and wandering oud spirits before blossoming into a sultry dance. The album concludes with “Qalandar”, a Balushi traditional piece, whose introductory murky tones evoke a somberly ambiguous atmosphere that later veers into a more celebratory, straighten out passage.

While the ensemble achieves an assured attitude and spontaneous energy, The Marrow may lack the surprising factor often associated with Grdina’s improvisation-leaning works. Bringing into play repeated, slowly evolving vamps, the tracks seem a bit too long, stuck in traditional folk and classical Persian webs. Nonetheless, it offers a lush balance between each composition, catering to the tastes of world music enthusiasts and showcasing the quintet's collective virtuosity.

Favorite Tracks:
01 - Not of Them ► 04 - Break the Branch

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Lars Fiil & Bilal Irshed - Connections

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

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!

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Mehdi Nabti & Prototype - Continuum

Label: Self released, 2023

Personnel - Mehdi Nabti: alto saxophone, claves, composition; Thomas Morelli-Bernard: trombone; Philippe Bernier: electric guitar, trombone (#3); Nicolas Lafortune: electric bass; Alain Bourgeois: drums; Kullak Viger-Rojas: congas. 

Prototype is an inviting progressive project from Paris-born, Montreal-based alto saxophonist Mehdi Nabti, who vouches his serious eclectic jazz pedigree and compositional style. His latest body of work, Continuum, develops in the same contemporary world jazz-funk line as the previous entries but denotes a few novelties worth exploring.

“Astarté” is a precise rock-inflected exercise with strong Northern African type of melody atop. The arrangement is metronomic, with regular bassist Nicolas Lafortune and new drummer Alain Bourgeois ushering us to the changes while buoying the solos in the company of guitarist Philippe Bernier. The latter, who replaced Joy Anandasivam, and the bandleader delivered stately improvisations on this number.

Powerfully polyrhythmic, “Trantor” reinforces the go-getter attitude via the solos from Nabti and trombonist Thomas Morelli-Bernard, whereas the less exuberant “Garamantes” is propelled by ornate guitar pointillistic patterns and the driving congas of Kullak Viger-Rojas. Regardless of the caravan-like pace, this is a tonal piece of epic ambition.

Curling bass lines invade “Laptis Magna”, which, being fluid and harmonically perceptible, evolves with odd-meter and an underlined funky feel. There’s a vamp for the drummer at the end, just like on the following track, “Positron”, which burns in seven with a catchy, optimistic theme that seems inspired by singable R&B and rock harmonic resolutions.

Unanticipated is also the lively closer, “Techno Sapiens”, which emulates the genre mentioned in the title with reiterative energetic riffs. Imagine a Latin rave with propulsive congas while the guitar infuses funk counterpoint in the accompaniment. 
Continuum is another bold entry in Nabti’s discography, one that deserves consideration as the music agitates with stoutness.

Favorite Tracks:
01 - Astarté ► 02 - Trantor ► 03 - Garamantes 

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Peter Brotzmann / Majid Bekkas / Hamid Drake - Catching Ghosts

Label: ACT, 2023

Personnel - Peter Brotzmann: tenor saxophone, clarinet; Majid Bekkas: guembri, voice; Hamid Drake: drums, percussion.

The late German saxophonist Peter Brotzmann, who left us on June 22nd at the age of 82, was at the wheel of numerous free jazz outings over the course of a rich six-decade career. His last recordings - An Eternal Reminder of Not Today (with the experimental rock outfit Oxbow) and Naked Nudes (with cellist Fredrik Lonberg-Holm and pedal steel guitarist Heather Leigh) are worthy musical journeys, as well as this entirely improvised live recording, Catching Ghosts, a culture-blending trio effort with Moroccan guembri player and vocalist Majid Bekkas and American drummer Hamid Drake.

Brotzmann was open to exploring new territories on every session, and the threesome here frame their distinct sounds into an offbeat hybrid fusion of gnawa songs and free jazz. The program, recorded live at Jazzfest Berlin 2022, offers four free-flowing and unrehearsed gnawa traditional pieces that, following consistent textural palettes, are galvanized by the driving force of Brotzmann’s saxophone playing. The opener, “Chalaba”, blazes the trail. The two-stringed, camel-skin-backed guembri can sound like a bass in the lower registers, soon establishing a sextuple time groove while having clean cymbal scintillation by its side. The saxophone clamors find space between phrases, entering this dance arena with either growling intensity or hoarse moaning, yet invariably with class and personality.

The following three pieces were included on Bekkas’ 2002 album African Gnaoua Blues. “Mawama” appears here with strong hi-hat pulsation and snare activity, putting more emphasis on the vocals than the sax; the 14-minute “Hamdouchia” presents a 10-beat cycle groove, having Brotzmann - in all his fiery, subversive and provocative style - responding to Bakkas’ voice; and “Balini”, both propulsive and airy, features Brotzmann’s whining clarinet prayers over rhythmic interlocking patterns generated by Bekkas and Drake.

These musicians take chances, each serving the material with musical passion and care. This is a wonderful goodbye from Brotzmann, a force of nature who will be deeply missed by all free jazzers.

Favorite Tracks:
01 - Chalaba ► 03 - Hamdouchia

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Michael Blake - Dance of the Mystic Bliss

Label: P&M Records, 2023

Personnel - Michael Blake: tenor and soprano saxophones, flute; Guilherme Monteiro: electric guitar; Skye Steele: violin; Christopher Hoffman: cello; Michael Bates: acoustic bass; Mauro Refosco: percussion; Rogerio Boccato: percussion.

Michael Blake has always deviated from typical jazz formulas in a career that, as a leader, started with Kingdom of Champa (Intuition Records, 1997), and evolved in groups such as Blake Tartare, The Herbie Nichols Project and The Lounge Lizards. His newest outing, Dance of the Mystic Bliss, is dedicated to his late mother, Merle Blake, a dancer, singer, gardener, and cat lover. Here, making the most of the rhythmic talents of his new Chroma Nova group, which combines bilateral percussion and four stringed instruments, he brings Brazilian folk influences into 10 originals.

“Merle the Pearl”, a joyful dance where an Afro-Latin pulse meets soulful post-bop, is marked by a 14-beat-cycle guitar motif on top of which violinist Skye Steele engraves his pizzicato work. Blake’s fully articulated tenor solo is enlightening. His erudite language is equally compelling when he switches to soprano on “Le Coeur du Jardin”, a piece that, featuring cellist Christopher Hoffman, conveys relaxing vibes, a charming rhythm, and a circular harmonic progression. 

New musical partners allowed Blake to revamp his sound and explore different territories. “Little Demons”, for example, denotes an invigorating percussive trait that follows a meter signature with seven beats per measure. Brazilian percussionists Mauro Refosco and Rogerio Boccato provide that warm tropical feeling, while Blake’s tenor fascination comes to the fore. Another Brazilian, the guitarist Guilherme Monteiro, enjoys a change of tempo, applying distortion and discernment to speak a mix of jazz, rock and blues idioms.

If “Topanga Burns” comes infused with a warm tango-ish impression that morphs into spiritual clamor during the eloquent soprano solo, then “Prune Pluck Pangloss” embraces catchy Middle Eastern-flavored notes. On this one, burnished tenor lines cross the harmonic pavement traced by Monteiro before dramatic strings and flute meet up on a vamping triple-metered section.

“Weeds” incorporates propulsive and reflective moments alike, making an impression with the layered arrangement and that terrific passage that takes us from the bass to the tenor improvisation. The album is completed with the achingly lyrical “Cleopatra”, featuring Blake on clarinet in complete communion with Steele and Hoffman. 

The group is as tight as it gets, with interesting rhythm-oriented foundations and with Blake showing strong melodicism and refined taste all around.

Favorite Tracks:
03 - Little Demons ► 05 - Topanga Burns ► 09 - Weeds

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Gretchen Parlato & Lionel Loueke - Lean In

Label: Edition Records, 2023

Personnel - Gretchen Parlato: voice, percussion; Lionel Loueke: guitar, voice, percussion // Guests - Mark Guiliana: drums, percussion (#3,6,7,9,11); Travis Burniss: electric bass (#3,6,11); Marley Guiliana: voice (#3,6,12); Lisa Loueke: voice (#3).

With Lean In, American singer Gretchen Parlato and Benin-born guitarist Lionel Loueke celebrate musical cultures in a successful pairing where they complement each other on 12 absorbing cuts. This session, a response to pandemic times, captures the two at the height of their abilities, embracing a world jazz vibe centered on West African grooves and rhythms. On specific pieces (including two wonderful interludes), the duo strategically used guest artists, elevating their instrumentality to another plane; they are drummer Mark Guiliana and bassist Travis Burniss.  

Penned by Loueke, the opening number “Akwê” and the fourth track “Okagbe” were retrieved from his creative jazz trio Gilfema's self-titled album (2005). The former piece is sung in Fon (the indigenous language of Benin) - with two voices in perfect consonance - and features brilliant guitar work, which, delineated with expert riffage, provides the contagious rhythm; the latter number, seductively expressed in seven, was shortened into an apt interlude that takes us to “Astronauta”, a melancholic detour into Brazilian bossa with Portuguese lyrics. A touch of Afro-Brazilian color is also spotted in “Muse”, whose tonal relaxation and English lyrics reminded me of Bebel Gilberto. This piece develops in nine with key changes and includes a captivating guitar solo.

Parlato excels on “I Miss You”, an incisively percussive reading of Klymaxx’s 1984 ballad. With the vocal backing of Loueke, her warm-toned voice carries a very pleasing lightness. The Afro-centric “Nonvignon”, a Loueke tune, was previously included in her eponymous debut album from 2005, whereas a new cut, “Painful Joy”, has concurrent wordless vocals tracing a poignant melody that lets emotions flow naturally. 

The duo co-wrote the impeccably layered title track with Guiliana, and the order the musicians enter here reflects how this piece came to life. The drummer’s energizing rhythms lock in with Travis’ bracing bass lines on “If I Knew”, a kinetic work powered by a funky groove, crisp afrobeat, electric wah-wah currents, a gorgeous chorus, and an alluring synth effect released by Loueke’s guitar during his burning improvised statements.

With a strong collaborative work that spans 20 years, Parlato and Loueke are both multilingual in a musical sense. They explore the plights and points of their inspirations in duo for the first time, searching for beauty and distinguishing themselves in sound and language.

Favorite Tracks:
02 - I Miss You ► 03 - If I Knew ► 07 - Muse

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Eve Risser Red Desert Orchestra - Eurythmia

Label: Clean Feed, 2022

Personnel - Eve Risser: piano, voice, composition; Antonin-Tri Hoang: alto sax, analog synth; Sakina Abdou: tenor sax; Grégoire Tirtiaux: baritone sax, qarqabas; Nils Ostendorf: trumpet, analog synth; Mathias Müller: trombone; Tatiana Paris: electric guitar, voice; Ophélia Hié: balafon, bara, voice; Mélissa Hié: balafon, djembe, voice; Fanny Lasfargues: electro-acoustic bass; Oumarou Bambara: djembe, bara; Emmanuel Scarpa: drums, voice.

Displaying an uplifting hybridity, French pianist and composer Eve Risser leads her 12-piece Red Desert Orchestra with vision, leaving a firm footprint even when the music has a certain lightness to it. For the suite Eurythmia, both the musicians and the musical influences come from Europe and West Africa, resulting in a music motivated by openness and a clear drive.

“So” thrives with a clever electronic-like treatment and Brazilian percussive tract. Saxophone trills, apt trombone commentary, v-shaped piano moves, and muted trumpet contribute a multitude of colors. Even more appealing is “Sa”, a horn-driven exercise with modulation and coruscating drumming by the versatile Emmanuel Scarpa. Altoist Antonin-Tri Hoang is also featured here, catalyzing energy with briskness and nerve. A cyclical, African-tinged texture is implemented at the end, enhanced by the highly expressive vibes of the balafons. This ravishing rhythmic tapestry serves as a foundation for “Desert Rouge”, a central piece in six whose organic whole is brought by fine solos, collective response, and a sense of experimentalism that hits the spot.

“Gämse” is made of many ingredients: electronic, avant-garde jazz, soul, funk, and exotic rhythms. On top of a booting bass line slides a lusty trombone solo that contrasts with the romanticism of the piano. Even though, Risser doesn’t sidestep from some angular friction and deft runs.

After an obstinate baritone-driven effort (“Harmattan”), and an ambient-like improv (“Petit Soir”) whose only sin is to be too abbreviated, we have “Soyayya”, a new arrangement of the 2019 piece “Après un Rêve”. The latter number - with prepared piano, balafon and percussive instruments churning polyrhythms and counterpoint - features a squirming tenor solo with strong timbral qualities by Sakina Abdou. Appeasing guitar chords finalize the proceedings.

An interesting musician to be reckoned with, Eve Risser solidifies her ensemble’s stature, spreading out some magic across spellbinding textures and rhythms.

Favorite Tracks:
02 - So ► 03 - Sa ► 08 - Soyayya

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Potsa Lotsa XL & Youjin Sung - Gaya

Label: Trouble in the East Records, 2022

Personnel - Silke Eberhard: alto saxophone; Patrick Braun: tenor saxophone, clarinet; Nikolaus Neuser: trumpet; Gerhard Gschlößl: trombone; Jürgen Kupke: clarinet; Taiko Saito: vibraphone; Antonis Anissegos; piano; Johannes Fink: cello; Igor Spallati: bass; Kay Lübke: drums. Guest - Youjin Sung: Korean gayageum.

Lasting less than 30 minutes, this five-track recording by the group Potsa Lotsa, the brainchild of Berlin-based saxophonist and composer Silke Eberhard, comprises textures and moods that are like torchbearers for a warm East-West cross-pollination. The group was formed in 2010 as a quartet to perform the music of Eric Dolphy, but here it's expanded into its 10-piece version. The music in Gaya was written with the Korean gayageum player Youjin Sung in mind, revealing Eberhard’s fascination for these marvelous sounds while exploring the harmonic possibilities of that instrument.

With “Hana”, she gracefully bridges these worlds with smooth changes of tempo, primarily conjuring up mysterious tones, and then expanding the sonic palette with specific detail as Sung takes the lead, followed by Taiko Sato on vibraphone and Nikolaus Neuser on trumpet.

Denoting sophistication in the arrangement, “Ned” sets up its introductory section with saxophone and bowed gayageum, becoming groovy, propulsive, and polyrhythmic as the sequences unfold. The one stepping forward and claiming a spotlight moment here is the trombonist Gerhard Gschlößl, member of the avant-garde jazz outfit Gulf(h) of Berlin.

The ensemble shows not to be afraid of unorthodoxy and quite some dissonance while performing “Dul”, which, bolstered by the dynamic microtonal plucks of the Korean guest, makes for a singular, somewhat playful experience. “Sed” is another rhythmically interesting narrative told with a finely calibrated instrumentation and contrapuntal expertise. A mix of urgency and repose is created, with the saxophonists grabbing the soloing time. Eberhard is particularly effusive in her melodic jabs, flanked by scathing cello attacks and nervy piano whirls. Listening to this record is like traveling to distant places. The landscapes evoked are beautiful.

Favorite Tracks: 
01 - Hana ► 03 - Sed ► 04 - Ned

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Jon Balke / Siwan - Hafla

Label: ECM Records, 2022

Personnel - Jon Balke: keyboards, electronics, tombak; Mona Boutchebak: vocals, kwitra; Derya Turkan: kemence; Bjarte Eike: baroque violin; Helge Norbakken: percussion; Pedram Khavar Zamini: tombak; Per Buhre: vocals, viola + Barokksolistene (string ensemble)

Norwegian avant-garde keyboardist and composer Jon Balke returns to his world music-influenced project Siwan after an interesting solo album released in 2020 called Discourses. Following up the releases of Siwan in 2009 and Nahnou Houm in 2017, Hafla marks his third outing with this international collective, which hybridizes baroque, Andalusian and improvised music with dazzling originality.

Working with the words of 11th-century Andalusian poet Wallada bint al-Mustafki, the ensemble steps into world fusion erudition with the hypnotic “Terraquab”, narrated by the Algerian singer Mona Boutchebak. The versatile vocalist sings in Arabic and Andalusian Spanish on “Arrihu Aqwadu Ma Yakunu Li-Annaha”, where evocative strings fill the spaces left by her voice. 

A trio of pieces delivered with a three time feel and relevant arrangements catch the ear. They are “Enamorado de Jupiter”, where the kemence of Derya Turkan stands out; “Saeta”, an instrumental number with aesthetic contrapuntal discernment; and “Uquallibu”, a poetic stunner entrancingly described with restrained dynamic range and bass lines that shimmer rather than pulse.

Faithful to his principle, Balke celebrates the concept of coexistence and cooperation between different people with an elegant intersection of musical cultures. “Linea Oscura” emerges with a spellbinding Middle Eastern tinge, being propelled by the incredibly rhythmic carpet laid down by percussionists Helge Norbakken and Pedram Khavar Zamini. Built with intimate detail, “Mirada Furtiva” showcases the capacity of Boutchabek, who composed it, to bring together the voice and the Algerian lute into harmonious consonance. Here, Balke provides a surprising counterpane of enveloping keyboard. The variations might seem minimal, but “Visita” carries a much more commercial bait than the dramatic lament “Is There No Way” (sung by violist Per Buhre), or the cinematic impressionism of “Wadadtu”.

All things considered, Hafla won’t necessarily have an impact on everyone, but that doesn’t lessen the discipline and significance of Balke’s achievement.

Favorite Tracks:
02 - Enamorado de Jupiter ► 07 - Linea Oscura ► 09 - Uquallibu

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Sigmar Matthiasson - Meridian Metaphor

Label: Reykjavík Record Shop, 2021

Personnel - Sigmar Matthiasson: double bass; Ásgeir Ásgeirsson: oud, tamboura; Haukur Gröndal: clarinet; Ingi Bjarni Skúlason: piano; Matthías Hemstock: drums + guests Ayman Boujlida: konnakol, percussion (#5); Taulant Mehmeti: çifteli (#).

The Icelandic bassist, composer and arranger Sigmar Matthiasson fronts a dynamic ensemble that perfectly serves his compositional abilities in merging Eastern and Western influences. Reflecting his musical personality, Meridian Metaphor, seamlessly integrates the jazz idiom with sounds of the world (mostly Balkan and Arabic), combining different hues and emotions in a pleasant, organic way.

The opening piece, “Don”, flows in three and transports us to a picturesque Eastern landscape that I personally imagine with high mountains and clear, starry skies. If looking for a point of comparison, I could mention the jazz fusion in the collaborative duo Dave Holland/Zakir Hussein, but this music flows with its own voice. Some rock stamina is brought by an 11-beat cycle passage before returning to the central theme, and the transitions from one solo to another are smooth and efficient.

Boasting an additive meter (6+5), “Fordómalausir” thrives with the sophistication of its melody, which also conveys some mystery. The oud gives it a special touch in the texture, and its player, Ásgeir Ásgeirsson, also shines in an improvisation over a bass pedal.

Rhythms intersect with envelope-pushing aesthetics in “East River” and “Karthago”, which are both warmly celebratory and folk-induced in nature. The latter piece features guest percussion from Ayman Boujlida and spotlights pianist Ingi Bjarni Skúlason who dishes out some ascendant phrases ascertained by chromatic splendor.

The amiable balladic side and lounging qualities of “Stinningskaldi” contrast with the excitement of “Nu Rock”, which starts in slow motion with bowed bass and oud but ends in fractured avant-garde mode.

“Mehmetaphor” closes out the album with a Middle Eastern temperament that evolves from a deliberate introductory section to a sumptuous dance in six over which the clarinetist Haukur Gröndal shines. The group eventually returns to the initial pulsation, and one can detect the çifteli and the oud working together.

Matthiasson’s facility to establish lovely moods with a nice empathy is noticeable and his bandmates certainly haven’t let him down with their dedicated work. This disc contains imaginative sonic worlds ready to be discovered.

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Favorite Tracks:
01 - Don ► 03 - Fordómalausir ► 08 - Mehmetaphor

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Amir ElSaffar Rivers of Sound- The Other Shore

Label: Outnote Records, 2021

Personnel - Amir ElSaffar: trumpet, vocals; Fabrizio Cassol: alto saxophone; Ole Mathisen: tenor and soprano saxophone; JD Parran: bass saxophone, clarinet; Mohamed Saleh: oboe, English horn; Miles Okazaki: guitar; Tareq Abboushi: buzuq; Tim Moore: dumbek, naqqarat, frame drums; Jason Adasiewicz: vibraphone; Zafer Tawil: oud, nay; Dana ElSaffar: joza, violin, viola; John Escreet: piano; Naseem Alatrash: cello; Rajna Swaminathan: mridangam; George Ziadeh: oud; Carlo De Rosa: acoustic bass; Nasheet Waits: drums.

Trumpeter, composer and bandleader Amir ElSaffar has been expressing his Iraqi-American heritage and artistic identity through successful albums that blend the traditional Iraqi maqam and modern jazz. The Other Shore, the highly anticipated follow-up to Not Two (New Amsterdam, 2017), marks the second time on record he's in the command of the 17-piece Rivers of Sound Orchestra, an extension of the Two Rivers Ensemble. There was one single change in its workforce - John Escreet sits in the piano chair that previously belonged to Craig Taborn.

The imaginative cross-cultural mysticism of “Dhuha” floats with ElSaffar chants and an exotic instrumentation where a robust versatility lurks behind the apparent languidness. This is materialized in a passage prodded by a groove in five where ostinatos serve as a filling during a saxophone solo. The trumpet detaches from its counterparts in the last section, and then the movement is slowed down until fading quietly. 

“Transformations” boasts an initial 12-beat cycle bass-oud groove before juxtaposing full-fledged rhythms with a dancing perspective in mind; “Lightning Flash” adjusts the density of its passages by giving it a simultaneously elegant and brazenly energizing feel; and “Medmi” terminates the session in calm waves.

“Reaching Upward” is one of my favorite pieces, and its magic erupts with West classical splendor as the stringed instruments (oud, violin, buzuk) come to the fore. After that, a percolating rhythmic flux in five finds its way, welcoming the inside/outside maneuvers from Belgian altoist Fabrizio Cassol, the intricate chromaticism of guitarist Miles Okazaki, and the microtonal pitches of ElSaffar on trumpet. Just as exciting is the breezily asymmetric {17+16} “Ashaa”, whose arresting rhythm patterns help to create moments of rare beauty. The lutes stand out ahead of a nearly-funkified fusion. Bassist Carlo DeRosa shares his thoughts, and the piece ends brightly in five after a Middle Eastern dance where ElSaffar interacts with another horn player.

Imbued with passionate lyricism, this music feels both cerebral and freewheeling. Composition and improvisation play an equally important role and there’s plenty of good, hybrid sonorities for one’s listening pleasure.

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Favorite Tracks:
01 - Dhuha ► 03 - Reaching Upward ► 04 - Ashaa

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Ches Smith and We All Break - Path of Seven Colors

Label: Pyroclastic Records, 2021

Personnel - Ches Smith: drums, percussion, vocals; Miguel Zenón: alto saxophone; Matt Mitchell: piano; Nick Dunston: bass; Sirene Dantor Rene: vocals; Daniel Brevil, Markus Schwartz and Fanfan Jean-Guy Rene: tanbou, vocals.

The singular drummer/percussionist and composer Ches Smith fell in love with the drumming rituals of Haitian vodou music in 2000 and, since then, has been exploring and maturing it. His We All Break project began as a quartet in 2015, but now has doubled its members into a perfect octet lineup that includes all the original co-conspirators - pianist Matt Mitchell and tanbou players/singers Daniel Brevil and Markus Schwartz - plus the valuable additions of alto saxophonist Miguel Zenón, bassist Nick Dunston, Haitian singer Sirene Dantor Rene and percussionist/singer Fanfan Jean-Guy Rene. This expansion allowed Smith to work on a broader range of musical territory on Path of Seven Colors, in which he pushes the envelope by brewing a potent cauldron of Haitian vodou rhythms and contemporary jazz.

The singing gets even more exposure on this album and the lead-off track, “Woule Pou Mwen” points the way after a precursory piano figure that joins the intervallic and the limberness. If this piece is based on the Kongo rhythm, a secular form of social dancing, then “Here’s the Light” erupts in the classic Port-au-Prince style bas line, merging the Afro-Haitian rhythmic colors of the Yanvalou (a sacred dance) with jazz influences that range from Keith Jarrett’s post-bop to Ornette Coleman’s harmolodics.

The latter tune thrives with improvisations from Mitchell and Zenón, who share and alternate the spotlight with eminent sagacity. The pair also delivers in the cutting-edge three-section “Women of Iron”, a fantastically orchestrated instrumental, whose Napo rhythm (coming from the Nigerian Yoruba roots and associated with military conflict and liberation) is complex and encouraging. I simply marveled at the playing of Zenón here.

“Leaves Arrive” kicks off with extended chantings that incorporate Brevil’s lyrics as well as one traditional song, climaxing in polyrhythmic expression and contagious statements from bass and saxophone. Inversely, “Raw Urbane”, marked by the propulsive Djouba rhythm (associated with cultivation and farming) stresses counterpoint and spiky accents before shifting to the Abitan dance type, occasion when soulful vocals and Zenón’s folk decoration step to the fore.

The title cut has a strong presence for it starts off with more atmospheric mood and unfettered sense of space prior to affix a strangely hypnotic pulsation.

Confident as ever, Smith proves to be a drummer of categorical rhythmic detail. His thought-provoking explorations combine precise articulation and an inexhaustible eclectic vitality.

Grade B+

Favoriter Tracks:
04 - Women of Iron ► 06 - Raw Urbane ► 07 - Path of Seven Colors

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Jen Shyu & Jade Tongue - Zero Grasses: Ritual For the Losses

Label: Pi Recordings, 2021

Personnel - Jen Shyu - voice, piano, percussion, Japanese biwa, Taiwanese moon lute; Ambrose Akinmusire: trumpet; Mat Maneri: viola; Thomas Morgan: bass; Dan Weiss: drums.

Jen Shyu, an incredibly talented singer/composer and multi-instrumentalist, delivers a groundbreaking multi-lingual hour-long opus that screams with personal loss - related to her father’s recent passing - and cuts into the surface of societal problems such as racism and sexism. Her flagship ensemble, Jade Tongue, was narrowed into a stellar quintet for Zero Grasses: Ritual for the Losses, a John Zorn-commissioned work featuring Ambrose Akinmusire on trumpet, Mat Maneri on viola, and the rhythm team of bassist Thomas Morgan and drummer Dan Weiss.

The album kicks off with the four-part suite “Living’s a Gift”, an emotional reaction to the covid-19 pandemic, where impeccably layered vocals overlap to create polyphonic melodies, unisons and counterpoint. Just like the opener, the following piece “Lament For Breonna Taylor” was composed in 2020, but this time with the marginalized Black lives in mind as it references the shooting of the African-American mentioned in the title, in an erroneous drug raid led by Louisville police in Kentucky. Following preliminary chimes and gongs, the desolate narrative proceeds with wailing viola, mournful trumpet cries, dramatic piano tremolos and somber bowed bass. With no disruption, this piece slips directly into the memorable “The Human Color”, whose ambiance is in compliance with a stylish jazz velvetiness that serves Akinmusire’s soloing virtuosity. The latter piece, brought back from Jade Tongue’s 2009 eponymous album, condemns the 19th-century colonialism in Cuba.

Both “A Cure For the Heart’s Longing” and “Display Under the Moon” were taken from Shyu’s solo theatrical work Nine Doors and thrive with curious instrumentations. In the former, Shyu accompanies herself on the two-string Taiwanese moon lute, while the latter dives in the Japanese traditional music, featuring the 4-string Japanese biwa on top of deft bass underpinnings. These pieces, together with the ritualistic “When I Have Power”, a vehicle for Shyu's virtuosic singing while going back to the race-motivated confusion of her teenage years, defy conventional forms and aesthetics. Another paradigm of her vocal prowess is the poignant “Body of Tears”, verbalized with remarkable range and emotional tension.  

Putting her ethnic fusion capabilities at the service of each narrative segment, Shyu blends the ancient and the contemporary to forge an unparalleled, cohesive sound.

Grade B+

Favorite Tracks:
03 - Living’s a Gift Pt. 3: My Unsolved Regrets  ► 05 - Lament For Breonna Taylor ► 06 - The Human Color

Cat Toren's Human Kind - Scintillating Beauty

Label: Panoramic Recordings, 2020

Personnel - Xavier Del Castillo: sSaxophone; Yoshie Fruchter: oud; Cat Toren: piano, chimes, tuning forks, singing bowls, rattles, bells; Jake Leckie: bass; Matt Honor: drums + guest Stephanie Rooker (#1): chimes, tuning forks, singing bowls

The follow-up to Human Kind, the debut work from the Vancouver-born, Brooklyn-based pianist/composer Cat Toren, is called Scintillating Beauty. The album comprises just four tracks, which are enough to get people involved in its sound healing techniques and positive activism. The simpatico group merges the modal jazz from he 60’s with a charming touch of world music that mostly comes from the oud playing of Yoshie Fruchter, a musician proficient in many genres, including klezmer and heavy metal.

Toren’s gleaming compositions are instilled with a deep lyrical instinct, transpiring in wavelets and relying on clever instrumental passages mounted into clear structural settings. The 16-minute “Radiance in Veils” gently rises and shines in a peaceful state of innocence - the gentle percussive chimes and rattles are reinforced by guest artist Stephanie Rooker - and progresses through the subsequent stages of human life. The pianist’s inspiration here did not just come from her first born daughter but also from two phrases by Martin Luther King. Saxophonist Xavier Del Castillo and Toren testify soulfully over the modal carpet weaved by the rhythm section, the former with a clear and assertive style, and the latter with a tranquil dreamlike quality. You’ll find reflexive moments and sudden controlled eruptions filled with busy saxophone runs before a chromatically rich oud solo. Finishing the song, the propulsive drumming of Matt Honor gets some flavorful Middle-Eastern spices tossed in. 

“Garment of Destiny” carries a lyrical poignancy, initiated with a heart-rending piano intro and continued with Jake Leckie’s bass pedal sustaining the ruminative oud crocheting. A slow-burning divagation is installed before a flurry of saxophone assertions surfaces above the colorful harmonic progression.

Whereas “Ignis Fatuus” swings unabashedly, incurring in a post-bop terrain that recalls pianist George Russell, “Rising Phoenix” diffuses spellbinding fascination. The soft radiance that emanates from the opening section - atmospherically driven by organ - intensifies with the beefy tone of Del Castillo’s prayerful saxophone. The group then dips in a sort of pop-folk, lightly gospelized by polished and direct chordal movements.

Although less adventurous when compared with Myra Melford, the eclecticism of Cat Toren has a lot to offer. The healing powers of her music are very much creditable.

Grade B+

Favorite Tracks:
01 - Radiance in Veils ► 04 - Rising Phoenix

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Dwiki Dharmawan - Rumah Batu

Label: MoonJune Records, 2018

Personnel - Dwiki Dharmawan: acoustic piano; Nguyen Lê: guitar; Carles Benavent: bass guitar; Aaron Stavi: upright bass; Asaf Sirkis: drums + guests.

Indonesian keyboardist Dwiki Dharmawan teams up with the great French guitarist of Vietnamese descent, Nguyen Lê (Paolo Fresu, Uri Caine) in Rumah Batu, his sixth record for the eclectic MoonJune Records. Maintaining his world fusion style vividly alive, the pianist summons the Spanish flamenco bass guitarist Carles Benavent as well as his regular foundation builders, double bassist Aaron Stavi and drummer Asaf Sirkis. Throughout the program, which features six Dharmawan originals and two traditional Indonesian compositions, there are several contributions of guest musicians whose individual expressiveness gives a distinctive touch to each tune.

The premise of “Rintak Rebana” pictures peaceful landscapes, sharply designed by the harmonious coalition formed by the rhythm section and Sa’at Syah’s suling flute. Meanwhile, the tune evolves into a progressive world jazz covered with traditional melodies and impassioned rhythmic textures brought to life by the percussionists Ade Rudiana, Teuku Hariansya, and Indra Maulana Keubitbit. Then the band departs to a rocking harmonic convergence that sustains Lê’s high-powered improv. The bandleader is also exemplary in his intricate discourse, fluently voiced with multiple shifting patterns, astounding swirls, and a playful yet solid sense of rhythm.

His conspicuous playfulness comes also attached to the lullaby-ish melody of “Paris Barantai”, which later falls into rich, empyreal chord progressions. Pianist and guitarist excel once again in their respective solos, while Benavent operates under a synth effect with wha-wha pungency in his individual explorations. The sinuous voice of Syah fits hand in glove.

Ethnic diversification allied with an adequate flexibility is widely sensed on the two-part “Rumah Batu Suite”. In the first part, after an uncluttered intro, the band lands on an Afro folk-rock runway, adding a dash of funk as they echo Brazilian masters Milton Nascimento and Gilberto Gil. The part two, credited to the collective, sets the musicians free to extemporize ideas within a busy avant-jazz romp. The musical narrative morphs into a crossroad where moods juxtapose with a light, Latin-flavored pulse appended.

The uptempo “Samarkand” guarantees a 6/8 vibe for the improvisers. Benavent opens the ad-libbing section, after which Dharmawan and Lê exchange groups of eight and four bars of responsive soloing.

Blending raw traditional elements with feisty contemporary spins, Rumah Batu bridges worlds and cultures. Even though some passages may sometimes feel a bit drawn-out, there’s a palpable energy in the group's dedicated interplay.

        Grade B-

Favorite Tracks:
01 - Rink Rebana ► 06 - Rumah Batu Suite, Part 2: Perjalanan ► 07 - Samarkand

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David Lopato - Gendhing For a Spirit Rising

Label/Year: Global Coolant, 2017

Lineup – David Lopato: piano, keyboards, vibes, marimba, glockenspiel, Sudanese kendhang; Marty Ehrlich: alto and soprano saxophone; Lucas Pino: soprano saxophone, clarinet; Mark Feldman: violin; Erik Friedlander: cello; Bill Ware: vibraphone; Ratzo Harris: bass; Tom Rainey: drums; Michael Sarin: drums; William Moersch: marimba; I.M. Harjito: Javanese rebab; Anne Stebinger: Javanese kendhang; Marc Perlman: Javanese kendhang; John Hadfield: percussion.

World fusion is in good hands with pianist, composer, and bandleader David Lopato, who hired an eclectic A-list band for his 2-CD set outing, Gendhing For a Spirit Rising. Moving with ease between Javanese gamelan, contemporary jazz, and other South Asian sounds, Lopato’s music benefits with both the experienced and the emerging jazz artists that followed him in this adventure.

Due to the palpitating rhythmic structure and the presence of an Eberton-Friedlander virtual violin, “Landrang” and “Jalan Jiwa” made me recall Billy Bang’s Vietnam Reflections. 

The folk-steeped “This Life” features saxophonist Marty Ehrlich, who first outlines the free chant-like theme on alto and then improvises on soprano, handsomely backed up by Mark Feldman’s melodicism on violin. Before this stage, the bandleader had shown rhythmic inventiveness and strong sense of resolution during his statement.

Disc one comes to a conclusion with the 20-minute “Gendhing”, a ruminative, grateful, and feathery instrumental that keeps shifting without altering the musing spirit.

The second disc is filled with Western harmonic motions and brings further colors to the already kaleidoscopic palette. It features the up-and-coming saxophonist/clarinetist Lucas Pino on all four tracks.

“Beboppin With Bella” stretches into a swinging bebop stance after a peaceful 3-minute introductory section established by piano, vibraphone, and percussion. Even limited to eight bars each, the soloists: Pino, Lopato, vibraphonist Bill Ware, and bassist Ratzo Harris, are quite generous in what comes to ideas. The vibist was the only one with permission to disseminate creativity to a greater extent after extra time has been given to him.

“Jakshi” draws Middle Eastern snaky melodies mounted in unison over the audacious percussive joy put up by Sarin and John Hadfield.

The two concluding pieces, “Ambush and Aftermath” and “Peace March”, are installments of the 911 Suite, which considers portraying Lopato’s experience of living up the street from World Trade Center. Surprisingly robust in conception, the former tune takes the form of an avant-jazz spirit call, in the same line of adventurers like Albert Ayler and Oliver Lake. As a consequence of the textural surfaces that arose from Lopato’s rambling runs and dissonant flurries, a fine 6/8 groove is settled to welcome Pino’s unceremonious creative output. The final piece is a static, touching poem created with noble intentions and conveying a new sense of liberation.

Gendhing For a Spirit Rising spills grip and humanity, reinforcing the idea that the exquisiteness of world music and the openness of jazz are not mutually exclusive.

       Grade B+

Favorite Tracks:
02 (cd1) - This Life ► 03 (cd2) - Ambush and Aftermath ► 04 (cd2) - Peace March

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