Fred Hersch - Open Book

September 14, 2017

Label/Year: Palmetto Records, 2017

Lineup - Fred Hersch: piano.

Open Book is another wonderful opportunity to get in touch with the compelling and always emotional music of Fred Hersch, an established pianist who, playing solo, presents three originals and four selected covers of disparate nature.

The gifted musician confesses in the booklet notes of his 11th solo release that what gives him more pleasure lately is sitting down at the piano and let it flow to see what happens. That’s exactly the sensation we got when this record is spinning. It starts by conveying a delicate intimacy in its opening tune, “The Orb”, an original and very personal composition whose touching lyricism is freed by the magic touch of his fingers as he couples melodic and harmonic richness. Everything is surrounded by a glorious sense of dreaming.

“Plainsong” is another original composition that reflects this state of melancholy, generating an idyllic crossing between jazz and classical genres. Its structure has nothing to do with “Through the Forest”, a ruminative 19-minute free improvisation that explores imaginary paths and trails of a secret forest. There are amazement, abstracted reverie, and dazzle in the depiction, but also mystery and an intermittent tension that is mostly created by the deep-sounding chords unhooked with the left hand.

Jobim’s “Zingaro”, also known as “Portrait in Black and White”, shows up with a heavenly aura, carrying all that crushing sentiment in the beautiful melody and harmonic progression.

Benny Golson’s classic “Whisper Not” is dissected with wisdom and perceptiveness, and then reconstructed with adventurous melodic counterpoint and ruling staccato voicings that, in an early stage, difficult the perception of which tune we are listening to. The main melody only becomes clearly discernible when we reach the final shout chorus.

In turn, Monk’s “Eronel" theme is delivered when most expected. Holding on to its natural bop gaiety, Hersch’s rendition exerts inventive rhythmic variations, stout phrases enriched with exciting passage notes, and attractive motifs. It diverges from Billy Joel’s lyric poem “And So It Goes”, which, interpreted with elegance, closes the album with a romantic touch.

As a curiosity, the previous solo album by Fred Hersch, precisely entitled Solo, also included one Jobim and one Monk song, and closed with a pop/rock piece, in the case, Joni Mitchell’s “Both Sides, Now”. Regardless the observation, Open Book is another story and a wonderful one, replete with fantastic moments that should be enough to make you exploring it with no reservations.

Favorite Tracks:
01 – The Orb ► 02 - Whisper Not ► 04 - Through the Forest

Darren Barrett's dB-ish - The Opener

September 13, 2017

Label/Year: dB Studios, 2017

Lineup – Darren Barrett: trumpet; Clay Lyons: saxophone; Erena Terakubo: saxophone; Santiago Bosch: piano, keyboards; Alexander Toth: bass; Anthony Toth: drums; Judith Barrett: percussion; Chad Selph: keyboards + guests Kurt Rosenwinkel: guitar; Nir Felder: guitar.

With his dB-ish project, Canadian trumpeter Darren Barrett excavates voguish ground by merging different styles such as post-bop and hip-hop with a nice, cool touch, and then spicing it with the addition of electronic samples and other valuable soundscapes.

Barrett’s music background includes a graduation at Berklee College of Music and the first place in the prestigious Thelonious Monk International Jazz Competition, as well as enriching collaborations with the likes of Elvin Jones, Jackie McLean, Herbie Hancock, and Roy Hargrove, just to name a few.

For his new outing, dB-ish: The Opener, the trumpet ace invited American guitarists Kurt Rosenwinkel and Nir Felder to participate in one track each, joining an impressive band that features Clay Lyons and Erena Terakubo on saxophone, Santiago Bosch on piano and keyboards, Alexander Toth on bass, Anthony Toth on drums, Judith Barrett on percussion, and Chad Selph on keyboards.

“The Opener” is where rhythmic hip-hop invention meets luxurious post-bop with strong modal accents and a crisp usage of sampling techniques. Barrett, who shows all his impetuousness every time he puts his horn to his mouth, delivers elastic phrases surrounded by delay effect, and is well accompanied in terms of improvisations by Bosch and Rosenwinkel. The latter, resorting to an affirmative synth guitar sound, expatiates on effervescent melodic escalation.
The lucid jazz-hop of “Beauty on Beauty” sounds invigoratingly beautiful in its melodious and superiorly articulated trumpet incursions, which gains an impish sound effect in the chorus, section that also scintillates with the riffscape of a saxophone.

Even if there’s a vibrant inner energy constantly bubbling underneath the surface, you’ll find several other occasions to chill out throughout the session. Examples are the reflective “Don’t You Know I Love You”, and the slightly more avid “Db-Lemma”.

“Different” mixes a self-assertive urban vibe with off-kilter rhythms that seem to fit between Brazilian samba and African lilt. The invitation to the dance floor is imposed by Anthony Toth's dry snare thumps and swift hi-hat, yet this posture is occasionally curbed by a more traditional jazz approach during the improvisations.

One of the highest peaks on the album happens on “To Conversate”, a piece that thrives with amazing collective timing and synchronization, as well as incredibly dynamic solos by the bandleader and then Felder, whose expressive six-string flux stirs up the groove.

Following the examples of fellow trumpeters Terence Blanchard and Marquis Hill, who also strive to push boundaries, Darren Barrett shows no fear of agitating style conventions through bold ideas. The scrumptiously groovecentric dB-ish: The Opener provides a gut punch of originality in its no-nonsense conception. Open mind, open ears, open style, open world… the future of jazz might well reside here!

Favorite Tracks:
01 - The Opener ► 02 - Beauty on Beauty ► 06 - To Conversate

Paul Jones - Clean

September 12, 2017

Label/Year: Outside in Music, 2017

Lineup – Paul Jones: tenor saxophone; Alex LoRe: alto saxophone; Matt Davis: guitar; Glenn Zaleski: piano; Johannes Felscher: bass; Jimmy Macbride: drums.

Paul Jones, an emergent tenor saxophonist based in New York, exhibits higher levels of maturity and a willingness for originality in his incredible new album, Clean, a considerable step ahead since the release of his full-length debut album, Short Stories, recorded in 2014 with his reliable sextet. The band members are maintained here with the exception of pianist Sullivan Fortner, who gave its place to Glenn Zaleski. The remaining artists, all young and powerfully talented, are Alex LoRe on alto saxophone, Matt Davis on guitar, Johannes Felscher on bass, and Jimmy Macbride on drums.

Some tunes feature a group of woodwind players that plump for a classical chamber tone rather than a jazz-oriented drive. The admitted influence of classical minimalists like Phillip Glass and Steve Reich are noticeable in these short-lived pieces: “Ive Sn Th Gra Md”,“Romulo's Raga”, “Im Prety Uch Fkd", and “The Minutiae Of Existence”, in which we can hear cello, oboe, bassoon, clarinet, and extra saxophones that often embark on circular breathing techniques, unisons, and well-driven counterpoint. On “Alphabet Soup”, for instance, Jones’ tenor surfs on top of the motivic, danceable waves created by Nanci Belmont’s bassoon and Susan Mandel’s cello. Those involved then change positions, effortlessly readapting to the new setting.

The title track brings the saxophones to the forefront, exerting cyclic behaviors intercalated with Davis’ melodic guitar. Improvisations by Jones and Zaleski occur on the surface of a static groundwork.

Immersed in post-bop shimmer, the catchy “The Generator” and the leisurely-paced “Dirty Curty” become intensely perceptive in their musical transparency. If on the former, one is able to relax at the sound of the introspective guitar and then perk up with the sinuous phrasing of the saxophone, on the latter piece, we find unison melodies in the head and iridescent improvisations, with special focus on the fantastic piano work developed by Zaleski who surprises with polyrhythm in his clever interspersion of chords and melodic phrases.

The bandleader not only delivers his best solo on “Centre In The Woods”, a lucid, wispy, and dramatic enchantment, but also unveils his aptitude for luminous songcraft. Despite the harmonic humbleness, the tune goes directly to your heart and senses through the elasticity of Jones’ language and the control of Macbride’s gentle snare drumming. The drummer gains preponderance once again in the minimalistic “Trio”, a beautiful poem that easily and softly invades the space around us.

Moving in different stratospheres, “I Am An American” carries a more familiar jazz signature as it mildly swings, while “Hola, Amigo” sprinkles a hip-hop flavor in the air and boasts exhilarating solos from tenor and guitar.

Combining the thrillingly emotional with the astonishingly lyric, this impressive body of work feels like a balmy elixir in today’s jazz. Paul Jones is not just the revelation, but also the revolutionary musician of the year.

Favorite Tracks:
03 - Alphabet Soup ► 04 – The Generator ► 06 - Centre In The Woods

David Virelles - Gnosis

September 11, 2017

Label/Year: ECM, 2017

Lineup includes: David Virelles: piano, marimbula; Roman Diaz: percussion, vocals; Thomas Morgan: bass; Allison Loggins-Hull: flute, piccolo; Adam Cruz: steel pan, claves; Matthew Gold: marimba, glockenspiel; Rane Moore: clarinets; Alex Lipowski: perc.; Mauricio Herrera: perc; Yunior Lopez: viola; Christine Chen: cello; Samuel DeCaprio: cello.

Cuban jazz pianist and composer, David Virelles, has been widely solicited by the attentive musicians on the current scene, who immediately recognized his outstanding creative capabilities. In the recent past, he has played key roles in projects led by trumpeter Tomasz Stanko and saxophonists Henry Threadgill and Chris Potter.

As a leader, Virelles always brings heritage into the game, and both Continuum (Pi Recordings, 2012) and Mboko (ECM, 2015) received accolades from the specialized media for his inventive avant-Afro-Cuban-jazz venture. Last year, the multifaceted pianist left everyone mouth-watering with the Vinyl/EP Antenna, a fully experimental mix of Latin rhythms, electronic vibes, and avant-garde jazz.

His roots and devouring appetite for experimentation become decisive again in Gnosis, meaning an intuitive apprehension of spiritual truths, his new CD and the second on the reputable ECM label.
Lacking the electronic maneuvers that once worked in his favor, the album consists of 18 short compositions (the longest has about six minutes while the shortest 40 seconds) that attempt to transform the Cuban tradition, strongly represented by the Abakua rhythms, into eclectic and sometimes abstract pieces of modern jazz.

Sparse piano strokes, bass perambulations, and multiple percussive approaches set the mood of the amorphous opening tune, “Del Tabaco Y El Azucar”, which at a certain point explodes with a long, thunderous roar.

In turn, the stylish “Fititi Ñongo” encourages everyone to move freely through the loose-jointed Afro-Cuban rhythm that accompanies the propulsive harmonies and well-discernible voice leading. Another super enticing African throbbing arrives with a work song feel in “Erume Kondo”, whose short story is chanted by the acclaimed percussionist/poet Roman Diaz.

Virelles plays unaccompanied on “Lengua I”, a piece with sudden variations in rhythm, texture, and mood, climaxing in a frenetic rhythm adorned by rapid runs, incisive flurries, and mechanical harmonic smacks. Its second part, “Lengua II”, provides a completely different setting, resorting to the efficacious chamber ensemble to adjust the lines.

Also with two different parts, “De Ida Y Vuelta” enchants with the classical romanticism and dulcet lyricism of the earliest segment, and then provides us with the gracious cinematic vision of the more folkloric and motivic second half.

Virelles’ distinguished ideas flow continually on “Tierra”, a 6-minute trip initially sparked by piccolo, bass clarinet, piano, and hypnotic rhythms, and also on “De Portal”, in which he finds the ideal balance between sound and silence, operating in a wide tonal range before dropping anchor in a catchy groove. A more meditative examination was selected for “De Cuando Era Chiquita”, despite the pianist’s low-pitched blows on the lower octaves and dramatic voicings on the higher. The quasi-childish, totally-singable melody expressed before the finale and its subsequent inspired groove made me wish the tune's duration had been extended.

David Virelles, just like his countryman and fellow pianist Aruan Ortiz, maintains his roots and traditions well alive by adapting them to today’s edgier jazz. He does it exemplary through a unique and adventurous voice that can be fully recognized in the course of this conceptual work.

Favorite Tracks:
02 - Fititi Ñongo ► 09 - De Ida Y Vuelta II ► 17 – De Cuando Era Chiquita

Vector Families - For Those About to Jazz/Rock We Salute You

September 8, 2017

Label/Year: Sunnyside, 2017

Lineup - Brandon Wozniak: saxophone; Dean Granros: guitar; Anthony Cox: electric bass, cello; Dave King: drums.

Minneapolis-born drummer Dave King, a bottomless well of rhythmic creativity, has been participating in several modern jazz projects that vary in nature and formation. In addition to the widely acclaimed trio The Bad Plus, King has been making interesting music with Happy Apple, Halloween Alaska, Buffalo Collision, and his Trucking Company group, whose excellent album Surrounded by the Night was reviewed last year on JazzTrail.

2017 signals another debut project led by King, a skittish quartet called Vector Families, featuring Brandon Wozniak on saxophone, Dean Granros on guitar, and Anthony Cox on electric bass and cello.
The title For Those About To Jazz/Rock We Salute You is a flattering way of saying thanks to the ones who follow their music and support their open style.

“Free Funk!” is partly indicative of what you’ll find in the opening tune, an excellent source of jazz/funk hybridity that brims with bass freedom, rough-and-tumble drum chops, and explorative melodies on the saxophone. All the more, we are driven to an unorthodox guitar solo, rich in scintillating harmonics and punctuated by unfettered atonal inventions. The guitarist coaxes the saxophonist to join the party, and both get back to reciprocal action by the end, delivering jointly extemporaneous runs and stimulating the percussive attacks of the drummer, who seems reluctant to ease things off.

“Duetz Duetz” is another suggestive title for a number that combines three duets to compose a solid whole. First, we get a modern classical feel as we spot Cox’s solemn cello gluing to the renegade acoustic temper of Granros. Afterwards, the latter is briefly joined by King, whose understated percussive environments also find Wozniak’s dramatic speeches in the concluding section. In this third phase, the initial vulnerable tone becomes denser as the saxophonist explores further, favoring spontaneous reactions from King.

Strayhorn’s classic piece “Satin Doll” is freely fragmented and graciously deconstructed through an unnervingly brash funky feel created by bass and drums, and the casual conversations between Granros, whose midi guitar technology emulates rusty piano sounds, and Wozniak, who scrutinizes around the theme’s melody.

Boasting a mantra-like percussive vibe and irregular chimes, the almost 18-minute “10,000-year-old Rotary Club” feels introspective as the saxophonist displays his introductory poetic vision. Cox infiltrates himself, adding effect-drenched bass lines to assure extra textural consistency. After Granros place his thoughts over a steady bass groove and syncopated rhythms, the tune ends up in multiple collective exultations.

The jolting “Dee Dee”, a composition by Ornette Coleman, starts as a typical swinging stretch that gradually advances into avant-garde territory. It is crammed with free rambles, just like the closing piece “African Dictaphone”, a sagacious exercise in free improvisation with Coltrane hints that, by turns, feel as much compact as elastic.

Vector Families actuates with uncanny power, exploring the aesthetic on the bolder side of the jazz spectrum. This first record is to be listened to attentively and its energy fully absorbed.

Favorite Tracks:
04 - 10,000-year-old Rotary Club ► 05 - Dee Dee ► 06 - African Dictaphone

Gary Peacock Trio - Tangents

September 6, 2017

Label/Year: ECM, 2017

Lineup - Marc Copland: piano; Gary Peacock: bass; Joey Baron: drums.

For many decades, the consistently solid bassist Gary Peacock became a crucial voice in trio projects led by master pianists such as Bill Evans, Paul Bley, and Keith Jarrett.

A couple of years ago, he joined his own traditional piano trio composed of nimble pianist Marc Copland, with whom he collaborated many times before, and scintillating drummer Joey Baron, also not a stranger to him. The result was Now This, released in 2015, and now the brand new Tangents, a wonderful excuse to celebrate his 82nd anniversary. This intimate body of work consists of original compositions by all three musicians plus two covers.

“Contact” opens the curtains that lead to Peacock’s musical serenity with an uplifting solo bass introduction. After a reflective period where the ambivalence spreads, the trio sticks to a sweet-tempered groove that unties the knot of abeyance and takes them to triumph.

“December Greenwings”, which first appeared on the bassist’s 1979 album December Poems, flows in a rubato mode and is initially set with Copland’s intermittent harmonic movements. Bassist and pianist speak the same language, sharing analogous ideas that are quickly volatilized with the help of Baron’s non-expansive brushwork.

“Tempei Tempo” gradually gained my attention through its enticing rhythmic accentuations and a seductive swinging flow that would fit the universes of Keith Jarrett and Charles Lloyd.

A ruminative triangular free improvisation entitled “Empty Forest” is placed between two timeless ballads of eternal contemplation that definitely make this session richer. They are Alex North’s love theme for “Spartacus” and Miles Davis’ “Blue in Green”, both carrying the perfect ambiance for Copland’s lush chords, Peacock’s full-bodied woody sounds replete of intention, and Baron’s round brush strokes.

With the intention of agitating a bit this marvelous lethargic state they got immersed in, the trio inflicts some more rhythm with the addition of “Rumblin”, an Ornette-inspired tune where folk, blues, and swing elements are thrown into the same bag.

Even with the word blues in the title, Copland’s “Talkin’ the Blues” is devoid of the genre’s explicit tics since the band uses their superior artistry to turn it into a floating and whispering roam. This tune was retrieved from Copland/Peacock's 2004 duo album What It Says.

Cooked up with in-depth excogitation, “Cauldron” and the title track exhibit the same open nature, exploring widely within the noble aesthetic arrangements.

Playing with polish and gravitas, Gary Peacock and his peers go deep in the music, communicating effectively and poetically while expressing themselves with no preconceptions.

Favorite Tracks:
01 – Contact ► 05 – Spartacus ► 11 - Tangents

Jane Ira Bloom - Wild Lines: Improvising Emily Dickinson

September 5, 2017

Label/Year: Outline, 2017

Lineup - Jane Ira Bloom: soprano saxophone; Dawn Clement: piano; Mark Helias: bass; Bobby Previte: drums.

To follow up last year's Early Americans, a vertiginously irresistible trio album cooked up with bassist Mark Helias and drummer Bobby Previte, soprano saxophonist Jane Ira Bloom took inspiration from the work of American poet Emily Dickinson to mount a double-disc album containing 14 originals and a single jazz standard.

The conception envisioned for this body of work, suggestively entitled Wild Lines: Improvising Emily Dickinson, allowed Ms. Bloom to expand her trio into a pliable quartet with the addition of the much-appreciated pianist Dawn Clement, who had given her contribution in 2008 and 2010 to the albums Mental Weather and Wingwalker, respectively. Her crisp comping and energizing improvised lines fit like a glove in the ambitious vision of the bandleader, who reserved the disc one for instrumentals and disc two for a dramatic combination of music and the poetry of Dickinson declaimed by actor Deborah Rush.

Many of these tunes can be found in Bloom’s previous record and were naturally subjected to a different treatment here. Among them, the highlights are the Steve Lacy-esque “Cornets of Paradise”, which primarily acts in an avant-garde setting before shifting to an enthusiastic swing, ultimately falling into a vehement African pulse just to return to the theme with demonstrative contentment; “Big Bill” whose upbeat 4/4 groove and catchy melody are quite contagious; “Singing the Triangle” whose question marks in the head’s melody often work as a point of reference in the collective’s explorations; and “Dangerous Times”, which feels like an Indian rhapsody maintained by rubber-coated drum chops prepared with percussive mallets.

Among the previously unrecorded compositions, “Emily & Her Atoms” is particularly lyric in its classical enunciations, “Alone & In A Circumstance” strives with spot-on disruptions and Previte's noticeable mallet work, and “One Note From One Bird” denotes an attractive charm that derives from the clear terminology employed in the improvisations, the uninterrupted swinging pulse, and Helias’ bass roams avoiding the traditional walking way.

Immersed in Dickinson’s 19th-Century poetry and competently assisted by the gifted musicality of her bandmates, Jane Ira Bloom renders a contemporary jazz album that it’s poetry itself.

Favorite Tracks (Disc1):
02 - Alone & In A Circumstance ► 08 - Cornets of Paradise ► 14 - Big Bill

Tim Berne's Snakeoil - Incidentals

September 4, 2017

Label/Year: ECM, 2017

Lineup - Tim Berne: alto saxophone; Oscar Noriega: clarinets; Ryan Ferreira: guitar; Matt Mitchell: piano; Ches Smith: drums, vibraphone, percussion + guest David Torn: guitar.

Credited for developing an adventurous work within the hard-line of contemporary jazz for almost four decades, alto saxophonist Tim Berne has created almost incessantly since 2012 to feed the repertoire of Snakeoil, a group whose core members are Oscar Noriega on clarinets, Matt Mitchell on piano, and Ches Smith on drums, vibraphone, and percussion. The band’s fourth ECM outing, Incidentals, also features for the second time Ryan Ferreira on guitar (he was in the previous You’ve Been Watching Me), and counts on the atmospheric guitarist and producer David Torn on a couple of tunes.

His soaring guitar prevails in the intro of “Hora Feliz” (the Portuguese title means ‘happy hour’), a tune that before expressing an ebullient extravagance through melodic unisons of sax and guitar, remains nearly four minutes in a sort of atmospheric limbo layered by clarinet, piano, vibraphone, and a shrilling guitar. Buoyed up by Berne and Noriega’s improvised narratives, Mitchell ekes out a variety of extemporaneous harmonic responses, always well backed by Smith’s polyrhythmic punch.

“Stingray Shuffle” starts a crawling process with Berne and Ferreira attempting a deliberately inexact unison turned into thin polyphony. The mood becomes viscerally spectral as a panoply of prolonged, multi-instrumental screeches haunts the scenario, right before the triumphant reinstatement of the theme.

Delightfully inventive and full of twists and turns, “Sideshow” occupies our attention during the 26 minutes it lasts. Never superfluous, this dazzling piece offers us plenty to chew on, from crackling, distorted guitar sounds (Torn is called into action) to the wonderful piano work by Mitchell, and from diversified rhythms and tempos to well-oriented horn-driven paths. The band works conjointly and tightly toward a grandiose epiphany that culminates in a serene auroral beauty.

The confident, action-packed “Incidentals Contact” is first activated by Smith's magical vibes but ends up navigating in those thrilling roundabouts engendered by Berne and amplified by powerful drumming. It develops a complex matrix that thrives with echoing rock momentum as it showcases the Stentorian improvisational skills by the bandleader and Mitchell, followed by a brief and hermetic interplay between Noriega and Ferreira.

The last track, “Prelude One / Sequel Two”, is also one of the most exciting pieces, consisting of two parts seamlessly connected. The prelude, co-authored by Berne and Mitchell, flows at a steady pace with melodic zigzags. The sound is then expanded and transformed into a swollen sonic mass for the sequel, where Berne’s intoxicating inflections are like blazing emotional outbursts. It’s a tour de force finale that makes you cry for more.

Tim Berne continues his sparkling creative saga with the Snakeoil, digging another taut album full of nerve, audacity, and mutual inspiration.

Favorite Tracks:
01 - Hora Feliz ► 04 - Incidentals Contact ► 05 - Prelude One/Sequel Two

William Parker Quartets - Meditation / Resurection

September 2, 2017

Label/Year: AUM Fidelity, 2017

Lineup – William Parker: bass; Rob Brown: alto saxophone; Jalalu-Kalvert Nelson: trumpet, kalimba; Cooper-Moore: piano; Hamid Drake: drums, percussion.

Exciting, fearless, and deeply resourceful avant-jazz bassist William Parker has been contributing to the enrichment of contemporary jazz in its most diverse forms for nearly four decades.

His followers have another reason to rejoice with the new double-disc album Meditation/Resurrection, released on his own label AUM Fidelity. The album encompasses two sessions, each of them featuring two different quartets that preserve the sax-bass-drums core.

Disc one comprises seven tunes played with his regular quartet whose members are Rob Brown on alto saxophone, the recently added Jalalu-Kalvert Nelson on trumpet (replacing Lewis Barnes), and Hamid Drake on drums and percussion.

The journey begins and ends with elated melodic themes over vigorous, free-flowing grooves. The kickoff is made with the politically charged, calypso-like “Criminals In The White House”, whose title couldn’t be clearer and the musical reciprocation, more robust and adhesive. The improvisations on this tune were held by Brown, a disciple of the inside/outside approach and adept of portentous exclamations, and Nelson, who opted for slightly more loquacious and vehement objections. The closing number, “Give Me Back My Drum”, also strikes with shifting rhythms and rhymes.

Sticking in the middle, we have the piece “Horace Silver” split into two parts – the first transforms abstraction into musical poetry, while the second starts with chimes, gongs, and other percussive embellishments, and spins with Brown’s meandering phraseology steeped in Eastern idioms. Nelson, who initiates this one by playing kalimba, later switches to trumpet, joining the saxophonist to form brief unison lines that evolve into catchy polyphonies.

The light-flowing bass grooves of the bandleader are the cool essence of “Handsome Lake” and “Rodney's Resurrection”, a pair of tunes that thrives with whether brisk, whether moderated improvisations, yet always articulated and motivic.

Disc two features five tracks by Parker put up by his acclaimed quartet In Order to Survive, with pianist Cooper-Moore instead of Nelson. It starts with a sublime spiritual hymn entitled “Sunrise In East Harlem”, whose perpetual vamp driven by the pianist’s silky voicings serves as a vehicle for Parker’s initial chromatic arco movements and Brown’s side-slipping devotional worships.

Ironically, shades of Oliver Lake can be found on “Some Lake Oliver” where Brown's digressions are efficiently backed by Cooper-Moore’s shifting trills and intricate textures, Parker’s bass freedom, and Drake’s combustible drumming.

Both the static “Urban Disruption” and the 18-minute collective ramble “Things Falling Apart” abound with serpentine melodic contortions and astute rhythmic ideas.

Regardless the tempo, languid or swingingly up, there’s always something to discover in Parker’s interesting tunes and immaculate groovy lines. His dedication to and innate passion for creative music is unflinching and an example and inspiration for every aspiring musician.

Favorite Tracks:
01 (CD1) – Criminals in the White House ► 01 (CD2) – Sunrise In East Harlem ► 04 (CD2) – Urban Disruption

Ethan Sherman - Building Blocks

August 30, 2017

Label/Year: pfMentum, 2017

Lineup – Ethan Sherman: guitar; Chris Rolontz: bass; Christian Euman: drums.

Ethan Sherman is an L.A.-based guitarist and composer whose openness to different styles and facility of approach make him an interesting voice in the modern jazz world. His debut album as a leader, Building Blocks, was recorded in trio with Chris Rolontz on bass and Christian Euman on drums.

The translucent opacity of Sherman’s music punches like a matador in the introductory section of “Jungle Gym”, a rubato incursion that nods to Ben Monder and surprises through immersive, robust triads. Afterward, this same piece is recuperated, shortened to half, and accelerated in pace (called the fast version). Despite the opening tune’s premise, it was the pop/rock feast “Keltner”, written by Sherman with the drummer Jim Keltner in mind, that immediately gained focus through the mystery drawn by on-spot guitar chords coated with occasional powerful distortion and corroborated by a languid yet confident groove that guides and enthralls.

The easy melody presented in the light-hearted “Dangling” dances freely over the undeviating foundation formed by Euman’s riding cymbal strokes and Rolontz’s danceable pulsation from below. After improvising, the bassist continues with a discerning walking bass that leads us to Steve Swallow’s old happy creations.

The most beautiful piece is also the most reserved. Entitled “Norway”, this airy, far-sighted, Motian-esque composition paints autumnal landscapes with a mighty force that implodes, maintaining an unaltered surface that anchors in “Pretty Polly”, a traditional folk song reimagined to hinge distorted guitar dissonances and loose, often atmospheric bass-drums liaison.

Strongly influenced by the blues, “Motivation” takes the shape of an accessible song whose rustic, soulful touches get it closer to a ballad. It contrasts with "Positive Space”, a fruitful blend of dreamy folk and dissimulated funk where Sherman uses his peculiar vocabulary drawn from jazz and rock to speak frankly, and “Snowshoe”, a delicate pop mantra initially escorted by minimal mallet-driven drumming, bowed bass, and circular chord progressions embellished with harmonics. After Rolontz’s bass solo, the tune’s texture core is intensified but never altered.

This is an auspicious debut from a talented young guitarist that shows strong compositional skills and potential to do even greater things in the future.

Favorite Tracks:
02 - Keltner ► 04 - Norway ► 08 - Positive Space

Logan Strosahl Team - Book I of Arthur

August 29, 2017

Label/Year: Sunnyside Records, 2017

Lineup - Logan Strosahl: alto saxophone, narration; Michael Sachs: clarinets; Sam Decker: tenor saxophone; Aquiles Navarro: trumpet; Nick Sanders: piano; Henry Fraser: bass; Connor Baker: drums; Julia Easterlin: narration.

I first came across with the music of saxophonist Logan Strosahl last year, when I got the album Janus, recorded in duo with the pianist Nick Sanders, also a member of his Team collective group. I was very well impressed with the connectedness and genre bending adopted by the talented pair of musicians, who join forces with five other musicians to devise Book I of Arthur, the first of a planned set of three chapters inspired on the legendary King Arthur.

The session opens with “Prologue: In Nomine”, which introduces the tale with devoted medieval classical orientations. These cordial tones become frenzied in the introductory horn-driven exaltation of the following piece, “Wherein the Beast Is Ever More and More”. The ways of the troubadour come back shortly later to sustain the atmosphere with a properly cadenced piano accompaniment and multiple reed lines atop.
Strosahl expressively narrates “Uther Pendragon and the Birth of Arthur”, having changeable textures propagating in the background and enveloping the story with a strong cinematic sense.

A feisty and intense rhythm, projected with the force and passion of Sanders’ wanders and the sturdy bass-drum flow, initially takes over “Igraine Gives the Infant Arthur to Ector”, which decreases when the vigor is forever put to a halt to emphasize soaring, introspective moments delineated by clarinet and bowed bass.

If “The Woods So Wild” is shaped like a folk dance and filled with contrapuntal horn movements and dynamic pulse, the surprising “Narratio: Turn Thou Us...” goes from a gently-handled, pure classical approach to a fiery collective unfolding that hits hard on the ears.
“Battle of Bedegraine” and “Prooemium” provide some of the finest moments. The former, narrated by Julia Easterlin, develops with sharp angles and protuberances in the melody, acquiring depth by the presence of low-toned piano voicings and boosted by rampant saxophone incursions and trumpet stunts, which I wish would be further explored. The latter piece boasts lush harmonic sequences and a strapping improvisation by the bandleader before finishing in another collective manifestation.

This chapter culminates in the form of a conquering celebration where the knightly posture is recuperated within a monophonic classical arrangement.

Operating in his comfort zone, which encompasses both the jazz and classical genres, Strosahl takes some risk by superimposing the spoken words to the music. Even not matching the previous Up Go We, this new album still brings some interesting ideas and particular moods to be discovered and appreciated.

Favorite tracks:
05 - Igraine Gives the Infant Arthur to Ector ► 09 - Battle of Bedegraine ►10 – Prooemium

Sam Boshnak Quintet - Nellie Bly Project

August 28, 2017

Label/Year: ARC, 2017

Lineup – Sam Boshnak: trumpet, vocals; Beth Fleenor: clarinets; Alex Chadsey: piano, keyboards; Isaac Castillo: acoustic and electric bass; Max Wood: drums.

Following up the 2014 album Exploding Syndrome, Seattle-based trumpeter Sam Boshnak reunites her stalwart quintet: Beth Fleenor on clarinets, Alex Chadsey on piano and keyboards (replacing Dawn Clement), Isaac Castillo on acoustic and electric basses, Max Wood on drums - and delivers Nellie Bly Project, a 4-track album that navigates on explorative waters of the avant-garde genre while portraying the title character, a 19th-century American journalist and feminist known for her record-breaking trip around the world in 72 days.

Boshnak’s “Expositions” tears into a puissant rhythm and groove after an intriguing introduction featuring the deep tones of bass clarinet, which, together with bowed bass reinforces the foundation’s compactness with a swaggering stance. Rather intelligible than sprinting, the trumpet solo that follows, momentarily complemented with clarinet punctuations, leads to a bridge that breaks down with a vocalized ostinato interlude, obsessively iterate by the guest vocalists Valerie Holt and Anne Mathews. The structure is maintained through a bass pedal and rockish drumming, while piano melodies echo along. The tune has its consummation with an extemporized keyboard endeavor, melodically supported by the horns voice leading.

The following tune, “After One Is In Trouble”, is mounted by stumbling and contrasting dualities claimed by bass clarinet and trumpet as they operate together. Shifting tempos and rhythms are natural consequences of the infinite search for expansion, transcendence, and resolution. After the individual statement by Wood, who works on a clockwise hi-hat demonstration at the same time that explores tom-tom timbres, the band goes into a dazzling avant-garde tract that ends up in an abandonment of bowed bass and piano.

“72 Days” wields a challenging bass groove throughout the first section, adorned with a vocalized ostinato and free trumpet trajectories atop. Piano trills are just a small part of the great work developed by Chadsey, who cleverly infuses a sort of spirituality in the harmonic sequences to exalt and stun. Vocals take over the second section, and we find Boshnak uttering Bly’s words in multiple layers - "I would rather go in dead and successful than alive and behind time". The organist, operating behind Fleenor’s passionate solo, intermittently repeats the associated melody. For the triumphant finale, the first section is retrieved and intensified by fluttering horn stamps and decisive percussion maneuvers.

The record ends with “Legacy”, another magnetic experimentation that will certainly be appreciated by the fans of Dave Douglas’ compositional style and formidable instrumentation.

Whether functioning in spacious or dense areas, Nellie Bly Project vibrates with raw musicality and airs a remarkable honesty in its endeavor to capture Bly’s spirit.

Favorite Tracks:
02 - After One Is In Trouble ► 03 - 72 Days

Matt Wilson - Honey and Salt

August 26, 2017

Label/Year: Palmetto, 2017

Lineup – Dawn Thomson: guitar, vocals; Jeff Lederer: reeds, harmonium, vocals; Ron Miles: cornet; Martin Wind: acoustic bass guitar; Matt Wilson: drums.

Experienced American drummer Matt Wilson takes inspiration in the poetry of Carl Sandburg, poet of the people, for his new genre-bending outing, Honey and Salt, which features a talented group of musicians, and readings by guest jazz luminaries such as John Scofield, Carla Bley, Joe Lovano, Christian McBride, and more. Sandburg was a native of Illinois, as well as Wilson, who, well acquainted with the poet’s work, arranged the tunes in such a way that music and poetry could coexist symbiotically.

Throughout the 18 short pieces of the album, each one enveloped by a specific genre and mood, the band alternates between adventurous and prevailing approaches.

“Soup” is a great opening, carrying the spirit of The Lounge Lizards on its shoulders and boasting a blues-rock guitar riff inscribed on the surface of a convivial rhythmic core. The vocalist/guitarist Dawn Thomson assumes the leadership, and the tune also marvels through parallel melodies delivered conjointly by Jeff Lederer and Ron Miles, on the saxophone and cornet, respectively.

Vibrating with lofty rhythmic accentuations, “Anywhere and Everywhere People” exhibits Martin Wind’s loose bass grooves and Thomson’s frank guitar chops over a funky beat that stimulates the improvisers to operate within the same time frame.

If “Stars, Songs, Face” is clearly a product of the pop genre, “As Wave Follows Wave”, “Bringers”, and “I Sang” bring accentuated folk scents attached to their melodies. They all have this ear-pleasing balladic nature in common. Country music is also represented through “Prairie Barn” and “Offering and Rebuff”, even if the latter, mutates at a certain point to take a more pop direction.

“We Must Be Polite”, narrated by Scofield with an emphasis that occasionally reminisces Zappa, as well as “Choose”, are conducted with a similar fanfare-ish, animated stomp. The groovy throbs of the former tune become a formidable motivation for Lederer’s energetic blows and salient timbral maneuvers. The latter piece seems to have been inspired by Broadway musicals and classic films, exhibiting heroic snare ruffs n' rolls, and counterpointed cornet/flute melodic lines.

Wilson wouldn’t leave the jazz aside, and on “Snatch of Sliphorn Jazz”, he embarks on an interesting dialogue with Lederer, now blowing the soprano sax. All the impetuosity he conjures up on “Paper 2”, an alluring postbop momentum that swings and refreshes, is refrained on the following piece, “Trafficker”, which gets closer to Miles Davis’ cool line of action.
Pretty distinctive is “Night Stuff”, a slow paced procession propelled by Wilson’s mallet drumming, Thomson’s smart comping, and Lederer’s sweet melodic sketches on clarinet.

Everything ends in a joyful samba fashion with “Daybreak”, in which the warm vocalization increases the singableness of the very Brazilian melodies.

Honey and Salt provides moments of pure delight. Regardless the setting, Wilson’s ardent passion can be felt every time he wisely hits a piece of his drum kit.

Favorite Tracks:
01 – Soup ► 05 – We Must Be Polite ► 13 – Paper 2

Zack Clarke - Random Acts of Order

August 23, 2017

Label/Year: Clean Feed, 2017

Lineup - Zack Clarke: piano, electronics; Henry Fraser: double bass; Dre Hocevar: drums.

Emergent pianist Zack Clarke is constantly searching for brilliant textures to be delivered at the perfect moment. He does this by linking up creative melodic lines with titillating voicings and instinctive intervals with the intention of firstly build up tension and then release it. Operating with his reliable peers, bassist Henry Fraser and drummer Dre Hocevar, Clarke opens up new musical paths using both simple and complex processes.

Random Acts of Order, his debut album comprising only originals, holds a suggestive title since the impromptu lives within a well-founded structural order. This doesn’t mean that exploration is blocked. On the contrary, Clarke explores with logic in order to establish clear perspectives of the scenarios he imagines.

The opening piece, “Before The Cause” is sunken in abstract minimalism and wrapped in noisy shadiness.
“Act 1” is a daintily articulated piece that brims with shifting symmetries and sparkling motivic figures installed on top of a controlled agitation mounted by bass and drums. While Fraser keeps alternating between bowing with mystery and plucking with a groovy pulse, Clarke hits the keys with speedy eloquence to form whirls of sound, often triggering ascendant chordal movements that look back at Chick Corea’s chapter of Now He Sings Now He Sobs.

This music concept is interrupted when we listen to “Elements”, an abstract, atmospheric composition evincing static noise in the background and emulating watery sounds that quickly transports us to humid and swamping landscapes.

Static tension is also served up in “Act 2”, a spinning emancipation of self-expression that penetrates our ears with captivating exclamations and melodic zigzags.

Conspicuous modern classical movements belong to “Low Gardens”, a composition that merges different musical backgrounds to define obfuscatory scenarios enhanced with dramatic poise. On this tune, Clarke’s classy pianism and prodigious facility unravel consecutive piano trills that, joining the ominous bowed bass and effervescent drumming, become exceptional points of departure for free rambles built with patience and heading nowhere in particular.

“Up On The High” is an eventful joyride that starts with advancing piano drifts á-la Paul Bley, responsive rhythms, and timid bass screeches, but evolves into an unflinching, proud groove that supports well-versed pianistic textures. Even relying on particular rigid ideas, expectation never abandons the trio’s juncture.
The session ends with “Dee”, a passive yet striking solo piano piece that captivates through beautiful if morose melodic passages.

Contemporary jazz lovers who still don’t know Zack Clarke have in Random Acts of Order a great opportunity to visit strange musical territories and find out how prominent structural alignments sustain adequate amounts of dynamic exploration and experimentation.

Favorite Tracks:
02 - Act 1 ► 05 - Up On The High ► 07 - Dee

Uri Gurvich - Kinship

August 22, 2017

Label /Year: Jazz Family, 2017

Lineup - Uri Gurvich: tenor and soprano saxophone; Leo Genovese: piano; Peter Slavov: bass; Francisco Mela: drums.

Born in Israel from Argentine parents and now based in New York, alto saxophonist and composer Uri Gurvich demonstrates a high level of maturity on his new outing, Kinship, the third, and probably the most accomplished, of his career. Gurvich’s previous works, The Storyteller and BabEl, were released on John Zorn’s Tzadik Records, and with them, he proved to possess the remarkable ability to merge Israeli traditional folk elements with the hard-hitting post-bop current.

Kinship, a very strong and meaningful word, is associated not only with his roots and family (the record is dedicated to his grandmothers) but also to his reliable longtime quartet, whose members: Leo Genovese on piano, Peter Slavov on bass, and Francisco Mela on drums, accompany him for a decade.

“Song For Kate”, dedicated to Gurvich’s wife, accentuates a Latin touch in the beat while thriving with ever-shifting harmonies and oriented melodic drives.

Rich in colors and flying with a 6/8 Latin groove, “Dance of the Ñañigos” loses the initial Afro-Cuban feel when Genovese starts to improvise with a more bluesy feel. Afterward, as the rhythm section sustains the pressure, Gurvich talks overtly, unveiling his sophisticated technique through a well-articulated phraseology. The piece doesn’t end without a lively conversation between the bandleader and the pianist as they start trading licks. They repeat the trading scene on “Hermetos”, a vibrant homage to the Brazilian wizard Hermeto Pascoal.

A great part of the album is heavily influenced by different cultures, roots, and folk traditions. For instance, “El Chubut” is a politically-charged, Latin-infused vagary, featuring the voice and the words of the special guest, Bernardo Palombo, while Sasha Argov’s “Im Tirtzi” is a tender and popular Israeli love song that fits between a bolero and a jazz standard. Another song composed by Argov, “Ha’Im Ha’Im”, is introduced by Slavov’s bass licks and boasts the pugnacious musicality of Genovese and Gurvich, who blow everything away with a kick-ass attitude and galloping resolution. “Twelve Tribes”, featuring Mela’s chivalrous rhythmic charges in a vamp reserved for his abilities, as well as “Blue Nomad”, are Eastern jamborees offering an array of motivic ideas taken from the Coltrane compendium.

“Go Down Moses” moves like a curvy roller coaster and mixes McCoy Tyner’s modal expansions with the spiritual improvisational eloquence of Coltrane and Kenny Garrett. The inside/outside approach adopted by Gurvich on soprano in addition to the vocals, reminisces Billy Harper’s blatant African rituals. This delirious pronouncement contrasts with the delicate concordance of the title track, which feeling loose, brings no strings attached in its yearning.

Kinship is a mature, multicultural, and urgent album from an underrated saxophonist who will certainly attract all the attention to himself after these rapturous compositions become fully exposed. Excluding blurry tactics and relying on luxurious yet unpretentious sonic architectures, Gurvich, an adventurous voice in the post-Coltranean fashion, is the man to follow.

Favorite Tracks:
02 - Dance of the Ñañigos ► 04 - Twelve Tribes ► 06 - Go Down Moses

Vijay Iyer Sextet - Far From Over

August 21, 2017

Label/Year: ECM, 2017

Lineup - Vijay Iyer: piano; Graham Haynes - trumpet, cornet; Steve Lehman: alto saxophone; Mark Shim: tenor saxophone; Stephan Crump: bass; Tyshawn Sorey: drums.

Vijay Iyer is a tour-de-force pianist, improviser, and composer whose innovative concepts about music got him a wide legion of jazz fans.

To materialize the ten new original compositions included on Far From Over, his fifth ECM album, he opted to trust his recurrent rhythmic partners Stephan Crump and Tyshawn Sorey, respectively bassist and drummer, and enlisted the resourceful saxophonists Steve Lehman and Mark Shim, as well as the trumpeter Graham Haynes for a spectacular frontline.

The introductory section of “Poles” is launched with solo piano, to which bass and drums join before the luxuriant entrance of the reedists, who infuse striking counterpoint to the already bombastic groovy flow. Iyer’s incisive comping and rhythmical expression work in synergistic communion with Crump and Sorey, who respond with sturdiness to Lehman’s pungent language full of steep accentuations. In opposition to the altoist, Haynes, less adrenalized and more embraceable, contemplates with pleasure first and then explores before wrapping up.

Both the grandiose title track and the pushful “Good On the Ground” gallop energetically by employing vigorous rhythms. While the former, dishing out majestic polyphonies over a beautiful textural matrix, gives the opportunity to the horn players to shine individually and collectively, the latter, seems to have been made for an action movie with heart and bravery as key factors. It eventually glides into jazzy ground to sustain Shim’s infectious phrasing, Iyer’s extemporaneous runs and mordacious note aggregations, and Sorey’s powerful rhythmic cramps.

A fluid post-bop interpretation suffused with an impeccable rhythmic sense defines “Down to the Wire”, which features Shim’s dark timbre and impressive power of argumentation. Crump and Sorey, always working side by side for a steadfast navigation, weave a ductile layer that serves Iyer’s flexible ideas. Eloquent and adjustable, the pianist excels in his vibrant attacks.

Airing danceable and unambiguous vibes, “Into Action” serves as a vehicle for Haynes and the bandleader extemporize their creative thoughts. Even if we find some rhythmic connotations with “Nope”, an urban jazz-funk piece where Iyer adventures himself on the Fender Rhodes, this tune stands on a completely different shelf.

Quieter moods may be enjoyed not only on “For Amiri Baraka”, a poetic stance that expands harmonically in a classic trio format, but also on “Wake”, whose innocuous movements convey the lethargy of awakening from a heavy sleep, and “Threnody”, where the initial cerebral serenity is shaken by Lehman’s cutting-edge expansiveness.

Far From Over propagates revolutionary sound waves with the visceral earnestness that has been always associated with the pianist’s work along all these years. Vijay Iyer's compositional style translates into a vortex of possibilities in terms of rhythmic intensity, challenging time signatures, and interactive action, which are all unmistakable features of this authentic and consummate jazz artist.

Favorite Tracks:
01 - Poles ► 02 - Far From Over ► 05 - Down To The Wire

Arthur/Fitzsimons/Otts - The Cheap Ensemble

August 18, 2017

Label/Year: Self-produced, 2017

Lineup - Patrick Arthur: guitar; Dana Fitzsimons: drums; Chris Otts: tenor saxophone.

The Cheap Ensemble, a cohesive and quirky jazz trio based in Atlanta, is composed of drummer Dana Fitzsimons, guitarist Patrick Arthur, and tenorist Chris Otts. It was the band’s wish to counteract the troubles and fear we’re living in today with a non-aggressive music style that works as a stress reliever.

Keeping a strong melodic keenness in sight while constructing texture and structure, the band navigates quietly, breathing a soaring tranquility that is quite enjoyable on Roberto Somoza's “Ithaca”, the memorable opening tune. Otts and Arthur converse with freedom, having Fitzsimons' cymbal strokes as a unique rhythmic support. Space is wide and the repose everlasting.

Following identical guidelines and evincing a balladic quality that suits Otts’ calm probes, “Poor Butterfly” seems inspired by those gorgeous jazz standards that cradle and serenade. To counter this tendency, Otts’ “Volkslied” heats things up with an inner energy that stems from sudden mutations we don't find on other tunes. The ternary accentuation and folk-influenced melodies end up in a circular harmonic prowess so characteristic of the pop/rock tradition.

A rendition of “Pure Imagination”, written in 1971 specifically for the film Charlie and the Chocolate Factory, introduces itself through a guitar ostinato punctuated by saxophone observations. It advances unhurriedly until a slight twist that launches off-kilter guitar textures and emphasizes the saxophone behaviors.

Chick Corea’s “Matrix” was included to homage drummer Hoy Haynes. The tune is everything but quiet, boiling with a pressurized rock-ish steam ready to burst anytime. The powerful triangular layers become denser with the time, finding orientation in an unexpected funk-rock rhythm that goes to the end.

The session culminates with an apparently hushed rendition of Bruce Hornsby’s “Fortunate Son”, which starts with bucolic contemplation but decides to instigate some action during Otts’ improvisation. Crescent reverb-drenched guitar waves gain preponderance guided by Fitzsimons light beats.

Indeed, The Cheap Ensemble earned my respect and succeeded in pacifying my soul with their atmospheric agility and timely poise.

Favorite Tracks:
01 - Ithaca ► 03 - Volkslied ► 05 - Matrix

Ivo Perelman - The Art of Perelman-Shipp

August 17, 2017

Label/Year: Leo Records, 2017

Lineup - Ivo Perelman: saxophone; Matthew Shipp: piano; William Parker: bass; Michael Bisio: bass; Whit Dickey: drums; Bobby Kapp: drums; Andrew Cyrille: drums.

I don’t know any musician as much prolific as the Brazilian saxophonist Ivo Perelman. In the course of the last three years, he has released 24 albums with formations that keep changing according to a well-defined set of habitual collaborators. Namely pianists Matthew Shipp and Karl Berger, bassists William Parker and Michael Bisio, guitarist/bassist Joe Morris, violist Mat Maneri, and drummers Whit Dickey and Gerald Cleaver. Among them, one may say that Shipp, a top-notch avant-garde pianist of limitless ambidexterity, is his musical soulmate, and nothing better to celebrate that kinship than seven volumes of The Art of Perelman-Shipp.

Not all the musicians cited above contributed to the sessions, which were recorded between August 2015 and November 2016, but the duo added two drummers whose presences are not so recurrent: the heavyweight Andrew Cyrille and the undisclosed Bobby Kapp.

Each volume got the name of a moon of Saturn except for the sixth, a pure Perelman-Shipp duet, which was identified as the planet Saturn itself, the core in which everything comes into being, develops, and returns.

On Volume 1: Titan, the duo invites the sturdy bassist William Parker to join their creative arena, and creativity is something he doesn’t lack. The trio starts by walking on flat ground with Perelman almost whispering hushed murmurs, but after a short period, there’s a deflection into rugged territories, where his saxophone timbre switches from bright to dark. Both Shipp and Parker follow him by equally plunging into a mystery, hardening the ecstatic axis while stirring dynamics around it.

I found Tarvos, the second volume, slightly more pugnacious than the first. You may think of David S.Ware’s prayers interweaving with Albert Ayler’s eventful strolls, ending in purgative agitation and overwhelming fire. However, on “Part 6”, the introspection takes over, and I was able to spot a few scrupulous melodies delineated with lots of motifs and outcries encircling them.

Volume 3: Pandora, featuring a quartet with William Parker and Whit Dickey, has a strange appeal and exhibits impertinent postures in cleaner environments. As usual, the band plays with the mutability of tones, timbres, and moods, but in a more controlled, lyrical way. Shipp’s influences of classical music are quite noticeable here as he transforms creative ideas into wholehearted dances.

Michael Bisio, who draws a superb round sound from his bass, plays on the next two volumes Hyperion and Rhea. The latter also features Dickey in the drummer’s chair, and his percussive chops inject some more robustness. “Part 6” was particularly entrancing with inspired blows by Perelman, sometimes carrying some folk in the melody, and striking sonic gusts that made my feet come out of the ground. The adventures are quite elliptical, full of sweeps, contortions, and stretches.

The literal art of the duo can be enjoyed on Volume 6: Saturn, which comprises ten short pieces. “Part 9” is a highlight that brings beseeching melodic contours and highly percussive piano.

The great Andrew Cyrille joins for Volume 7: Dione, soloing upfront in the opening tune. The hosts adhere to the visitor’s suggestions in a triumphant point of entry and embrace an agitated asymmetry that drifts volubility from then on. The trio is on the same page and there are plenty of ravishing moments to be discovered.

Every different lineup offers different possibilities within the same line of approach and the seven volumes form a valid and meritorious body of work. My advice is: for a better absorption, don't listen to the seven volumes in a row. Doing so, you'll dig more precious details in the cathartic creativity of Perelman-Shipp.

Favorite Tracks:
03 (Vol 1) – Part 3 ► 09 (Vol 6) – Part 9 ► 01 (Vol 7) - Part 1

Oscar Feldman - Gol

August 16, 2017

Label/Year: Zoho, 2017

Lineup - Oscar Feldman: tenor and soprano saxophone; Leo Genovese: piano; John Benitez: bass; Antonio Sanchez: drums + guest Guillermo Klein: vocals, keyboards.

Versatile Argentine saxophonist Oscar Feldman opens his new album, Gol, with an inspired Latin feel associated to the colorful harmonic discernment of Duke Ellington’s “I Let a Song Out of My Heart”, impeccably arranged by Paquito D’Rivera. It features electrifying improvisations by the bandleader and his fellow countryman pianist Leo Genovese.

Another Argentine, Guillermo Klein, a highly respected pianist/composer with a flair for contemporary jazz exodus, appears as a special guest on “La Cancion Que Falta”, translated into ‘the song that’s missing, an original of his own where he sings the initial theme and plays keyboards, blending the agreeable linearity of a pop song with the profundity of the Argentine sentiment. Feldman reinstates the theme’s final melody on soprano saxophone.

Feldman borrows another challenging composition from Klein. Standing for ‘no name’, “N.N.” references the disappearances of several innocent people during the dictatorship in Argentina. The denunciation is made via vibrant soprano speeches, curious shifting rhythms, electric piano expansions, and meteoric percussive strikes.

“Viva Belgrano”, Feldman’s only original, couldn’t be more vivid and enthusiastic as it celebrates the moment that his hometown soccer team scored an important goal. The narration by Matias Barzola is placed at the beginning and end of a post-bop bravado stirred with hasty swinging passages and flammable solos. By the end, before the theme’s reinstatement, drummer Antonio Sanchez scores a monumental goal while signing his famous reverberant percussive attacks.

More swinging bass movements laid over post-bop harmonic preparations arrive with “Is That So?”, a Duke Pearson’s composition arranged by Bill Nelson. Besides Feldman’s expressive soprano trip, this tune also thrives with expeditious piano surges hooked up with shimmering voicings and the infatuated rhythmic dialogue between Sanchez and bassist John Benitez.

The exploration of diversified genres is effortlessly embraced through “Murmullo”, a traditional Cuban bolero that delicately intensifies the maritime air of a sweltering night on the Caribbean island, also Beck’s melodious song “Nobody’s Fault But My Own”, and The Beatles’ “I Feel Fine”, engendered with a straight ahead attitude to grasp variable time stamps and rhythmic flexibility. Feldman’s famous tonalities find groovy refreshment on the net created by Benitez’s propelling electric bass lines, Genovese’s nimble cadences, and Sanchez’s metrical impetus.

Suggesting persuasive moods, these expressive renditions are totally redesigned from scratch rather than imitated from the original versions. Gol, a product of Feldman’s personal maturation as a musician, is full of dominant counter-attacks and brings a fresh lure to the game.

Favorite Tracks:
03 - Viva Belgrano ► 05 - N.N. ► 08 - I Feel Fine

Mike Reed - Flesh & Bone

August 15, 2017

Label/Year: 482 Music, 2017

Lineup – Greg Ward: alto saxophone; Tim Haldeman: tenor saxophone; Ben Lamar Guy: cornet; Jason Stein: baritone clarinet; Jason Roebke: bass; Mike Reed: drums.

Riding high in the aftermath of his previous album, the propulsive A New Kind of Dance (482 Music, 2015), and moved by a harrowing racial experience in Europe, Chicago drummer Mike Reed presents us his new rewarding project, Flesh & Bone. The band features the core of People, Places & Things quartet - Greg Ward on alto saxophone, Tim Haldeman on tenor, and Jason Roebke on bass - plus a pair of sturdy improvisers, Ben Lamar Guy on cornet and Jason Stein on baritone clarinet. There’s also the spoken word of Marvin Tate who tries to call our attention to a few specific problems of this world.

On “Voyagers”, the chord-less ensemble inaugurates a celebratory state of affairs that flourishes with multiple horn timbres dancing in-the-groove of an unflinching percussive motion.

Another tune that strikes with invigorating horn spins is “A Separatist Party”, which besides exhibiting often-static bass notes and a funky backbeat, also welcomes the horn players into the spotlight of a hot improvisational steam.

In a totally different mood, “Conversation Music” features unobvious cornet routes by Lamar Gay and comes orchestrated with a Mingus feel and densely populated with expressive horn fills in the background.

The introduction of “My Imaginary Friend” (referring to a possible dream with his fellow drummer Tyshawn Sorey) consists of a saxophone monologue provided by Ward. His peers join him, kicking into a happy swing momentarily disrupted to introduce a neurotic solo by Stein, who operates his bass clarinet embracing an extended tonal range. Shoulder to shoulder, Lamar Gay and Haldeman pop into the scene for a sparkling conversation that finishes with tonalities of a serious argument.

“I Want to Be Small” and “Watching the Boats” are deviated from rugged paths to provide for the melodious tranquility that also reveals the generous spirit of the group. The former, a tune dedicated to the painter Archibald Motley, features Ward developing a phraseology whose cordial sound and sweetness take us to Duke Ellington’s times. In turn, the latter, following Roebke’s bass intro, opens the doors to an Indian-tinged meditation whose melodic contours are exemplarily designed by the reedists.

Tate’s poking words can be heard in three tunes. On one of them, “Call of Tomorrow”, the band harks back once again to Mingus, while continuously changing scenarios, from effusive carnivalesque parades to good-old-times swinging walks to rousing collective improvisations.

Mike Reed melts past and present, fusing them beautifully in Flesh & Bone, an album that allows us to hear and feel the tactile intensity of the collective and the individual expression of the soloists.

Favorite Tracks:
01 – Voyagers ► 03 – Conversation Music ► 06 – My Imaginary Friend